Satara a ielatta side 
TENTACLES See Se Lara le aiereiay: 
i eats ets Het Tiletehetaty 


Te tatere st 
rears sts) 


’ 
eiatslyt 
Fiket 
trey 
of; 


. taeda t) 
‘ ? + . tetiter: *] ese ee 
"3 F : : fever ity x ; : ’ iy Y “ at if : Saree yg 8 
¢ test, r ; ay : ; i ‘c 
f stat ; ¢ iy x ; i 


08542 


ae 


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aestete 
pope 


Vee 


Prete. 
Seta tty 


LSapeebeneee 


Rate elites a ear 


eae en 


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increta 3-H = 


gts 
neat 
sat, 


——— 


i 


se 
me 


“ 


Sires oY 


ad 


=e 
eae 


. via 7g man te “whom na 
se cir- | 


5a yet even in) 


“as De ance an aes / 
ay, ereace De aaa i 
; | 


ahat ae did woaity ie 
E: dmirable ‘manner, is | 
ts nae old besiue | 


the dispersal of some. ¢ 
Blakeslee’s career 
@ period in. the 

can taste. There ven 

nm our amateurs were a 
Ee and the world 

th turned to 
ool, and later to the I: 
more recent. ‘years, 


- have B been some curious doin 
: ‘mark et. At the outset. of 
- |moyement the Dutch scho 
, ‘Pated, and some agin 
| ‘i brought to this. 
, | Moreover, wheth 
| -. 


ih late Henry G. 

| ¢ tea 

‘\fastly to high e# etic Rot oteies: 

|Pheir successors were not invariably 

{so well instructed. Too many of them 

% gave themselves up, not to a Berns ay 
ohat.to a.fashion. | 


ie 


Ps | dealer, | With © 


| procession | 
| through | his gal 


| fine, some of them not so fine. ‘But he, 


| |was all the time strengthening his own } 


| taste, pel Pal long run he became a 


the flair of the collector. | 


| Visiting I is place one day not lo 


}fore his death, with the expectation of | | 


| seeing some English pictures, the first 


| thing we encountered was a lovely can-_ 
'vas by Meoretto da Brescia, now we | 
' believe, in the collection of Mr. “Neon | 
'G, Johnson, in Philadelphia. The epl: | 
‘sode was characteristic. Mr. Blakeslee 
\had learned to deal, as a matter of | 
course, in that kind of thing. 

| The Italian paintings in the present | 
exhibition make an extraordinary | 


p. It is true, as Dr. Siren notes, 
in nis — 1] an of the cata. | 
logue, that none of the mos | 


masters. of , athe Renaissance a 


ng be- 


the OREO aeETEE —— who we € 
in England. One or two German paint-) 


_ |ings of some value appear, portraits by _ 
| Granach and Sigmund Holbein, but the’) 


important works from the Northern 


|sehools are either Dutch or Flemish. 


| More than conspicuous here is the 

| great “Adoration of the Magi,” by. 
| Rubens. He painted the subject many) 
\times, but there is no sign in this of 
anything perfunctory | about his brush. 

| It is one of his major performances, 
| monumental in composition,. regal in 
ithe splendor of its color and stamped 
| everywhere with the easy amplitude of 
ihis masculine style. Paintings that 
lwould ordinarily assert themselves, 
|pointedly enough somehow shrivel be- 
| side this heroic canvas. Nevertheless, 
|there is good reason to go on amongst 
ithe Ne works, amongst the in-. 
lteriors by Metsu and: Van Musscher, 


| the rtraits by Cuyp, Sandrart, Jans- 
ie olished journeymen. 


TERE particular in= 
res to be cited, the spacious 
e (No. "to by Johapnes an Kes- 


sens and” pleat ae 


from ise 
to hea ie of 


C ne 
. y brilliant, 
" Frangois 


820 e3 Wen 


hs ‘Smitt be eee ie een ei Sree 

The Natives eh bys 2 Maestro _ ‘Tom- 

} masgso; Philip Berolz Pheer eee an 

| Madonna, C wand, Sts ohn, pa oe te 

| Domenico Puligo; Bernet, reas a 
Virgin, Child, and St, “Kat erine, ye 

Francesco Vanni} Mrz Snead. 8 5k .7 278 
Portrait of a Lady of the Cornaro hati 

ily, by Mranemas Dr. Paul Mersch..... 800 


a SOLD FOR 880 


s 
a 
j 


with ‘Cat, me J 


Central Ltalian Schools. 


7 ‘ y i \llen io ak bie aire 
H ” | Madonna and Child, school of Cosimo | __ ; 
“Madonna, Child and St. John . Ta; We VaR yale gees ee 378 The Scie 
Seen j Pri at Snes Re eanct nr fee ats Pariratt ha Gane 
Brings. Highest rice Madonna and-Saints. panel, by Giovanni ~ by Cornelis Jan 
Opening of Blakeslee Sale oes ea 
5 oly Family an ‘ ; BN 
Roe . . menico pee art S85 Re te 575 Fre 
| The Annunciation, panel a ies m- ¢ the “py Coswin on ai 
atrico: S. S. Carvalho......,... 300 ey, OF ee rich Galleries...... | \ 
| Madonna and Saints, panel, Fra Mar- Portrait of a La ee achin ; 
82 PICTURES FOR $47,335 tino Angeli; John E, McIlheney....... 525 * Sandrart; Al 
Madonna and Child, by Soe Man- ‘Portrait of a C 
gE les Dia ni; Holland Galleries......: Ae eT 1 |” Cuyp: Bernet, 
Madonna Aas Pace Ve panel, “Giovanni en Man with a Pen at 
; E | Boceatis; EB Matis i Aa Cb pin eral a emp cker: Francis 
Metropolitan *Art Museum Pays Pees lot pee eet Umbrian school; 8 | Lea with Rutt a 
Res Albert HATCH Eee ar abe vee 
tinone | Saints, Vitale da Bologna; 
| eroe paca by si | : bare Swale Pare igietaiietety Gi viii Se oo 320 || 
ilan chool. \.St.. Mary Magdalena. pane ovanni Lo 
AEB en LM oaths ta | ‘Spagna; Holland Galleries...,........1,000 | 
| North Italian Schools. Toe, of a Lady, b 
Madonna and Child, panel; Boccaccio ree A tg eee 
The opening sale of the pictures of, “'Boceaccine: John Dy Crimmins......5. 950. wrekp- eee i 
the Blakeslee Galleries, sold by order) ea eee ah ere? Ser aan | Marguerite Be 
d solo; Herber I Gig cab asia sea peak Ac pa Nap kapeegey 2 Nero : 
er the administrators of the estate of Madonna and = Child, panel, by Andrea i } Michiel J. oy 
he 1 Th J. Blakeslee, was held Solario: “Bernet; agenk su hee a views 700 Bopuanieys: ve 
a » aie aS ¢ : Portrait of a Lady, by Bartolommeo a: . tosh are b 
| last night under the auspices of the Veneto; Mrs. HW. D, Esterbrook. 250 ne se a 
' American Art Association at the Plaza’ Pe aes Child; panel; Bernardino 175 Musgual ne : 
| Hotel, 82 pictures bringing $47,335. The Metta cea cia te Ginbidnie ae Lucy Harington, Gon ni 
7 j i fealty Santa Croce: Bernet, agent...... : 
| catalogue was arranged’ in chronological eee ee ee echaan ie Sale ae rie con 
order not as is usual with the least im-| Mazzola, (Bedoli:) S. S, Carvalho..... 275 this evening, : 
portant pictures of the sale at the head | Vi nn gue Child, by Francesco pine ne bavi rey oP rene i SeHe : 
VK pe Ute g hs Maines Niven ie: POM rear No eae es) d so - 
of the list and the Italian primatives, ae Petniy ad St iRarherine “panel | 
Dutch, Spanish and: Roman _ pictures Ng Mai BS ant cl hbeolehg Galleries.: 350 
Were the first to go under the hammer. b. John. an a Bs Soh Die Fan 
Many of the pictures sold for very much ous ee es Motecoolian viarech at! 
fess, than had been paid for them py SOU so ia See ae ane es CE nua au E NS 900 
| ther last owner, a few for a fourth or i Portrait of a Uady, by Antonio Badile; 
| fifth of his buying price. : | fe Berbet. gents ie cuce eyes at aud. aioe 
_." Madonna, Cau, and St. John,’ by ‘The Resurrection of Lazarus, by Ersdi 
; Domenics Pulig 30, a pupil of del Sarto, I di Bonifazio: Mrs. J, H. Fry.ws.0...5. 150 
brought the hignest price of the evening | Historical Scene, by Battista Zelotti: 2 
| 80ing to Bernet, agent, for $3,050, This Albert FE. Smith Na nae eis 2h 450 
Was a picture lor wuich Mr. Blakeslee | | Madonna one Sen pense y irolamo ree 
paid So; we. The picture, “x, panel, No: 9) | da Treviso; S. s i : ee Ra eac ee 
on the catalogue, shows a youthful Ma- Late Italian Schools. 


-donna in «pink, blue, and yellow drap- 
(eis with brown headdress, holding the 

nfant, who is playing with a ball hand- 4 ; & ane 
ed him by St. John, whose staif and red Domenico Tiepolo, Albert H. Smith.... 475 
cloak are on the table near him. et eer ete Hee 125 

Bryson Burroughs, of the Metropol-| behead eh iphs ype geo) aeons et Aneel RCA I Sono t gee a 
‘lan Art Musuem, made a purchase for a ark eeaunea Seige: Dane, De Tatts 100 
the Muséum, paying $900 for No, 32: on : 


The Holy Family Appearing to St. An- 
pthe Catalogue, a panel, “St. John and: St, ‘thony, by Giovanni’ Battista Pittoni; 


Laughing: Girl, by Giovanni Battista.” 
Pia szettas en Wa Shieldsiwinccones oes ves) 
Portrait of an Old Man. by Giovanni 


cae 


Lawrence,’ by Bernardino Buttlinone, | Mrs,.James M. Johnston (235.2000 204, 325 | 
‘of the Milanese School. Chis shows two |View of the Grand.Canal, by Michele 
| full length figures standing, St. John Marieschi; C. F. Williamson A PO 450 - ote r ea ee. 
Ay Hivangelist: in green dress and sear- The Seine behest Ry. ag Giordano, 156 | F aie ¢ ve t| 
et cloak holding a gold’ chalice i (called. Fa-Presto);T.-Prentis ....3.0. ‘ 
i right hand ae an Ahechibea hook ie ‘Mary at the. Tomb. of Christ, by Fran- | Portrait o a aly aud o 
(the left. St. Lawrence, in elaborately céseo Solimena; Ty Prentis: conics... 50 


Canalletto'’s ReneS oeee ofa Grand Opera, 
House. in ~ Venice, by Canalletto:- BB; 
AST Fe Pe glen ata nce ae Mantra VaR up SOR NERES CDriL gaat ot aa GOES 625) 


Louis XIV.’" Sold to Edward Bran.) 
deis——-$64, 650 ei A Malad fog 


embroidered white and brown. robes, 
adorned with precious stones, ‘holds in 


| the right hand a palm branch, and in ‘Susannah .and the EJders, ascribed. to : ok’ 
; the left a gridiron, This was the Wing | Titian: Freneis: Ro WeIshiy ee. dee cee es 1,000 net 
; Of wh ges piece, Portrait: said to be ch Sri a dN Alia- + * br 
\ The Concert.” one of the Dutch ‘pic- mira, by ee inelli bert  B, | Stas fer: the: the . 
| tures, by Michiel van Musscher, went to ANCA a a a yea rites a Bee sécond eine of 


j Joseph ‘Breck, formerly of the Metro- 
politan Art Museum of New York, and 
how of the Minneapolis Museum, for 


‘Sale of the Blakeslee pictures by the} 
American Art Association at the Pitss | 


Spanish ‘and Roman Schools. 
The Little Shepherd Murillo; Albert. EE. 


is Binithe: ch cua eas dan cok is Sa 1,025 ‘Hotel brought $64,650, ix 
e600, for the latter institution. This rtrait of a Lady, by Claudio Coclla; §. 
| picture, 54 by 57, No. 81 in the cata- Ta aacratho BD Aiton ok omen ne 275 to date of $111,985. The Rut ‘ 
“ang ieee three figures in’a spacious Queen Mariana of Spain, by Velasquez: Adoration of the Magi,’ 
ha a sady amusing herself with a Al beet EO Srnitin sie t icsin heen att -1,050 orin a la ic ee ae 
small dog, and a mona elaborate dress Edward VI., panel, by Federigo Zucearo: hanes: brou t Rien, ates | 
| playing a.’cello, while a maid brings a Mrs, MTCCOrVACE Sila tes ee 56 


| dish of) oranges to place on the table, 
upon which the woman: is resting one! 
arm, 
Following is a. list of the pictures, 
_ artists, purchasers, and prices: 
Madonna and Two Adoring Angels, 
panel, by the master of the San | 
Miniato ‘altarpiece: Philip bhatt hogl cs AR $700 | 
Portrait of a Lady of Quality, by Bron- 


ZAROS SPAN CES ROW O@ISH: . cage ces oie 1,400 | 
Portrait of a fuady, panel;>. Tuscan . 
master; Mrs. McCormack oe ai Bea ily. Geol 800) 
Virgin and. Child,“by Jacob del Sellajo: 
PO OREN ALLO. Faviahiiey ph oe come wee 4235 | 


' Angel Musicians, (pair. small pictures, ) 
by Giacomo Pacchiarotto: S. S. Ca'r- 


: 


ore REO Ge are Se ay Same ERR) 2, Re 750 
| Madonna and Child, panel, by Parri | 
” Spinelli: John S. Me Theney . Mahe wste lve tie 479) 


King Charlies IiT. oF Spain, by Goya; W. 


FE POUT ES ie WOE ettaa ad ene er meeRC ER nite” - af 


caro: Albert F. Plaut AONE A we ak 
\Lady Burghley, panel, by Federiga Zuc- 
PALO sis Ih SPONGC Timi a osc pre cw eta 
Portrait of a Young Lady, by Juan B. 
del’ Mazo Mart nevi O, Kautinann Ae ata 
The | infanta Isabella Bugenia Clara, 
Gevermess of the Netheriands, by Juan 
Pantoja. de la Cruz; 0, Stratton Fe satay 
Portrait of a Spanish Princess, by Juan 
B. del Mazo Martinez: . Lanthier, , 
Anne of Austria, Wife of Philip: Lf, of 
Spain, . by Alonzo Sanchez  Coello; 
Charles SPI S20 2 Dates PA A Sse 


‘sale, going to Bernet, agent, for $13,000, 
This is the most important’ Rubens ever | 
sold in the country, ath Au er | 
Thomas BE, , Kirby, in putth 
picture. Two others previc by | 
the association brought more as ‘$00,- 
000 and the other, a small ‘Rubins of the 
Yerkes sale, more than $20,000. > - | 
“Tt was said at first last evening, 
that the Rubens would probably re- 
(main in this country and Jater hat it | 
‘would undoubtedly be returned to 
land. It is thought that it is likely to 
‘€0 eventually to Asher Wertheimer: of | 


SEY aa GA CUA ee a. cacy g MARR eat a ke pen 


— 


eee onion) 9 me 4 


of the back, . 
ee awl iA 
ese Aig age, and many 


} 
i 


& hiteee 


— Johor Brings $1 2,000 
fg Appraised at AP, 0CO. 


RAEBURN PORTRAIT, $11, 000 | 


7 Romney, Mees Uppleby,’ 
$10,300, an Alma Tadema $9,200, 
and ar Orchardson $6,900. 


at the Plaza Hotel, and the returns for 


Delish St seee ae 


Pourbus; ‘Ed- 


ene 


ois de 


| $262,235, 


Joshua Bev noth s “* Annabella, 


Blake, as 


Ves bac ecage a om ar) 
e¢ Rigaud, Sea- 
EEE Te 


Labilie-des- 


se aee 


which Mr, 
B00, 


Blakeslee himself paid $42,-~ 
There was full as much interest 


| $4, 200. 

The latter picture went to Capt. J. R. 
ide Lamar, It was an unusual picture, 
\less pleasing than many ‘by the artist, 
The Sculpture. Gallery,’ a large urn 
‘in the centre of the studio which’ is 
‘being exhibited to a gathering of people 
lin Alma Tadeniaesque” attitudes. Ifor 
‘this picture Mr. Blakeslee paid $18,630. 
'The last Alma Tadema. sold at public 


lemiah oe 


ee ee 
re ‘ek, Bernet, Agent | 
(Bigrew ‘chia, rnard van Orley, A | 
ae erges Bitcepeth: 
. Agent ales anes > = 5 
ish Lady, ‘Justus 
land ee a 350 
r ‘aby j 4 


Rubens, 


Yerkes collection, which brought $22,500. 
| The second highest price of the eve- 
ning, 811,000, was given by Albert WB. 


1 al tae es Fe cat 


‘The ” Musician, John Opie, by : # 
a ee iy, by y Francis Cotes; 


Lj nthe Geld aee 650. ‘Smith for Raeburn’s ‘Mrs. Cathcart,” 
a re i M, D.. by Sir Joshua one? the seated figure of a woman in a low- 
nt jew Martyn, by" Sir oy ‘cut white satin gown wrapped in a 


;mantel of black. 


ve ahr i 
est aia fig, by | “Benjamin One of the most 


REM cheese sca zunhinsines aus 525 Pence Kaen ae Mpc china a= 

2 the portraits broveht third highs 

ce Py Pelee HOR: 576 est price of the evening, $10,300, going 
Porat - me ‘Artist, ‘Sir Joshua Rey- | (to the Harich Gareries. This. was the 
nolds; Bern: ey ae oy ee, « gr, large portrait by Roniney, 49 ‘by | oy 

. gama Pan Bart., Sir Joshua. j linehes, ‘Mrs. Uppleny," the charming 
si R, Le Thampson....):....- 3910 figure of an elderly woinan, with a. de- 

“Daphnis ane Chloe, Voge Romney; lightful face, comfortably seated with 
Dr, Paul Mersh....-+.++-..00-sse--- "225 ‘folded hands. She wears a slate-colorea 


t of the Duchess of Marlborough, , 
; ieeris Cotes; W. B. Williams.....-./, 350 
e Countess of Galloway, Sir Thoma @ 


trattorce.:....-. 225 
rae eae 4 a. Children, George 


gown, a Small black lace shawl or scarf, 
land am elaborate headdress or bonnet. 
' She is seated in a red chair, there are 
heavy, draperies above her, and at one 
200 side a window opens upon a broad open 


Harlow; RK, L, James... fee x 

expanse! Kor this picture Mr. Blakes- 

i i of Mes. Jones. Francis < © hes 400 pice paid yt Be _ cans a ier Ronen 
a chard ctress, J bse sh }also bought aeburn’s “Mrs, Stewart 
opt Rebbe i L. paepes ey Pied . 878:| | Richardson,’? “which sold for . $35,100. 

Portrait af @ lady, Thomas Pihriiips, | |The purchase price of this was $28,000. 
Seaman, Agent .-.----++ss seyret 825) | A picture’ which attracted much at- 
Psyche’ Wedding, “Burne-Jones, Min- | tention while it was on exhibition at 
. neapolis Museum ,....-++. ++ vn 9 Qe LOO | the American Art Galleries, preceding 
Admiral Bridport, spe bolo “Willan | 1 |e sale, was the very interesting one 
Beechey, 0, Berne Wren trnes 800) | by Sir William @, Orchardson, . ‘* The 


|The Karl of Portland, Whit, apa Dobson 
1 Mersh.. (825 
ivan Maria 
LAvtener ss i ce tees 450 


Around tables in the 
Bae of a hollow square are a number 
of guests, young men in the pictur- 
esqué costumes of the period of James 
1]., -Whe sare toasting their host—-the 


Young Duke.”’ 


Seate 


Fetches 


There was brisk bidding at the third | 
| and closing sale of the Blakeslee pict- | 
| ures by the American Art Association | 


| the seventy-three which went under the | 
hammer last evening were $150,125, mak- | 
ing a grand total for the 237 pictures of | 


|, £he highest price of the evening was 
4 $12,000, which was brought for. Sir. 
Lady } 
‘ Juno,” a picture appraised | 
pat $30,000 within the last year and for] 


in the Alma Tadema, which’ brought 


isaleé was a@ much smaller one in the’ 


pleasing pictures. 


Kirby said las eee py 
i one, to be sold here at public ae 
r 

| The Minneapolis Musetim was. 8 again 
) purchaser last evening, buying th ori; 
a sketch “‘ Death on the Pale H 

by Benjamin West for the finished pié- 
ture in the Pennsylvania Academy. It 
went last evening for $775. 

Following is a full list of the even-. 
ne s fas of. pictures with prices; — — 


‘English Schools. 


Portrait 0 oe a Boy, py John Opie; Garnet, 
agen rarer ae i acate, 'o oty Hee ene Pewee Po ee 
The Soudvess: of, Hissex, by Sir Thomas 
Lawrence; Cv) Williamson... Fate NTO 

yar of * Girl, by Sir Thomas Lawrences, 
iliams 1) a ee zap fe. yk gine pape: STS: 


lady Hamilton. a “Miranda,” by ons rge: 


' Romuey; Benjamin Allen: ...;...0.... 175 
Portrait of Lady. Campbell, vy oF ohn 
Hoppners Arnolds yo ve ea £4 44,200 


‘Portrait of a Lady with Red. ‘Hat. Dy ae 
George Henry Harlow; George Dennis, 875 { 
'The Duchess of Cleveland. by Sir Peter . 


Ps Leky yi Si oS Oarvalnosey osc. 04 
| Hampstead Heath, by John Constable: 
TELE OMAP SON Acs wee ee ak ak ok RE yt: 
hots to Sehqol, by John Opie; SS. a 
pos OREO COMI erecta or tae ase ieee vis) 
| Group of Two Children, by George Henry H 
' Harlow; C. F, Williamson. ....-.....4 
| Miss Theophila Palmer, by Sir, Joshua 
Reynolds; Seaman, agent balers Weare’ t Ae f 
/ Portrait of Pegs Wotfington, by ‘William 
fo EL OREN $5 ike hd MON Pe Ces wan 5 6 
| Sir Thomas Buekler Lethbridge. “by” Sir 
Thomas Lawrence; H. Fredericks... .,, 
Mrs. Musters as ** Hebe, EDDY. oud Joshua 
Reynolds; A. Pradericks0 ci eked. see 8, 600 
Countess. of Strafford, by Sir "Joshua 
Reynolds; BE, K. Gleasoneers 4,26 k 
Charlotte, Lady Strange, by Sir Thomas 
Lawrence; fe Fredericks Sahl sar oa aMetely 


Countess of Strafford, by Tilly PE es 
Seaman, agent 


Co ee i ee 


| Mrs, Fortescue. by Sir Joshua Reynolds: 


BOG We S hile Ok See ve ada te 600 
Mrs. Catheart, by Sir Henry Raeburn; 
Reve: Ve Setthe 0 arco eae i 
Lord Huntingdon, by George Romney; 
FAURE OORTIORS Osten e Syd ei Weed Shae <ckic g Bawls 10 
The Countess of Ancr ae es Sir Joshua 
Reynotds;) Hye W. Shieldso4 vo hens 
Rome and the Campagna, by Richard 
Wittsone: Ro Wards cou i weit ayy si a a+» 1,000 
The ‘Old’ Mill, by John Petia e aa 
WATTS ete US eee a ies 2 25 
Portrait of a Lady; -by Alfred Edward 
Chalone Ris ie SUMOU yl tie dia ar 
Portrait of the Hon, Charlotte Johnston, 
by. Francis Cotes:.G. M) Hewitt. ..... 1, 
Mrs, Drake, by George Romney; Dr: 
Panty NECVSCH: / 5¢cun ti edaeandin sar Gee ae ee TE 53,900 
Francis’ Cotes, Portrait of a Lady; #, 
ERS VORUS OMNI. fo /ctN eracaie sa Calsel 505 5'be org dlietaee EDR 75 
Sir’ Phomas Lawrence, Mr. E. J. Bla- 
mire; S. S. Carvalho. iiiecss ses sa 41,000 | 
John Hoppner, +The Countess of Gutld- | 
fota sas Mredericks i isd Wins yew eee 9,300 
John Opie, Girl with Cat; ©. F. William- j 
SOU esac aa gs Wins ae edie oan A Reins 900 
Sir Thomas Tjawrence, Miss: Hare; Ben- 
Jammin: Adler es ROLE ae eae ae 950 
Henry R. Morland, Portrait: of a Lady; ; 
SOS) Carvalnoies (ayisGee ee Caemeg 550} 
John Opie, Mr. Richardson; “Mrs. igs das 
SP SBA h oh gh ibavay eC aeco dl, (acds eld canoe ie mae Baas aac 800 
Sir Henry Raeburn Lord Craig: H 
EPOOGRECIES rule cae tiger a ankles Wie mle lona did iaat 3,400 
‘Allan’ Ramsay, Portrait of (a Lady; R. 1 
EUSTON Saaeccat wil wee elaine aa a oO ue adele 425 
John Opie, Mr. James Whitbread; S, §. : 
Carvalho RR Sih ded, mista: here gnce Mra kae oa i a 525 
George Romney, (Period — of,) Country 
Girtss By.) P' Sweatson Da stain pate th rare Aloe 325 4 
| Francis Cotes, Miss Mary Dashwood; | 
fi «HIS WAC aR Tato Gai weahnire 2 alemdar acc 1,250 
Sir William. Beechey; (?) Lady. Harriet 
Vernon; O. REIS Snr GH Ay trap ge Aes 1,850 
Major Peitson, by George Romney; H, 
Dicer lsh es Ras seo MERA Coa, mea es Bu har Plc eammuics an Ht Sper irs 5 | 
Lady Boynton. and, Child, by Richard { 
Cosway: Whrich Galleries........., «2,000 4 
| Miss. Kitty. Fischer, by Sir Joshua Rey- 
NOL sh? OW FM VONCD Rea. tales eae ws 2,550 
Portrait’ of Mrs. Olive,. by Francis Cotes; 
FF PROUT Hh cgi Rica a ha. 1 /<oblie ior los ile ube yn a Routew ie Lore 300 
Death of the: Pale Horse, “by Benjamin : 
. ) West7: Minneapolis Museum....... CE Came 
| Miss Elizabeth Liddell, by Sir ° Pete; | 
Loelya George ARAN. wien 4x wae e sale 600 
| Lady Meiville, by Sir Thomas Lawrence; 
Bennet eRe, feiss e iy aikic wale arouse eael oy acue 5,100 
} Girl Playing the Harp, by George Hen- | 
i} ry Harlow: Edward Brandus: 2.00.2, ibe 
| The Canal Boat, By Frederick W. Watts; / 
George IK, Pada er toa ee Ee 675 
Mrs. Kemble as. Scie Mae ong Sir. Mar- 
tin *Archer ‘Sheesh Antlen ve hy ase 650 
Franeés, Lady Digby, by Sir Peter Lely; 
Bhaehy Wsa llertebs ie oat (chaise iw victe dean 625 
Mrs. ‘Uppleby, by George Romney; Ehr- 
ich Galleries 1OZ¢ 
John Singleton Copley, the Fortune- 


teller} °“Mhrich Galleries. . o.voe 400 
Sir Henry Raeburn, Mrs. Stewart Rich- 


ardsow; -Bhrich /Galleri@see gic. soo ds 8,100 | 
Francis Cotes,. Portrait of: Miss. Hast- j 
ings) Mrs. By, Ky Glesomie oa es an 276 | 


cscher tor $37 3, Ce 
one of the largest private buy 

“The Ust of pictures with pane of bus 
ers and prices peeking 


ee of the ‘Ban ei oue 


Altarpiece, “Madonna and Two. 
Adoring Angels; Philip Berolz- 


Barhie eee | ee te svt 
dfréey ‘K Sater. Portrait of 
aa s. Ss. rapa Fs futon aesa 


Sir Godfrey Kneller, PoRnia Wire. “of | heimer . .. acs als oes ae YL) 
Tanne: bs Gpernet;. BRAME Mca y idea daca: 1, 150) A ia Aree Aliort, | “(portrait of (a | 
|) Sir David Wilkie, “King ‘Willan Ws; Lady of Quality”; : Francis R. hn 
{ Seaman, agent .1 15 .c6esc sess teste aes 50 Welsh cunt oc Poa o Gay ewes 1,40 


3 t T, “Portrait of @ 
Sir Laurenz Wikes eedeina The Scripture 38—Tuscan Maste tr 
Gallery; Captain J. R, de Lamar... Ss, 9,200 


4— Jacob: del. Séllajo, “Virgin and 


The Young Duke, by Sir William. Q. ane 1k. 00 See ey 425. 
» Orchardson; Knoedler & Co............0,900 ONE A SEG aah green Nousi- 

ed ae Adelaide, by Sir. David Wilkie; cians’; S. S. ee Uuagoana nd 750 | 
; EOP ELELONS Wiest lhe AOC Rae eaves Seay ) exeiye i yr donna ‘an i) 
Me epee niga) Ohildren, ‘by: Martin ae 6 RE: ee ce ps abana es 475 | 
regan: Wr ey as Ne ee 5 a tal Sash 

‘Lady Shaw, by Sir Thomas Lawrence; easter: ca Tne. ae eg Jonn’: 
Ralph H, Booth ..... -1, 400 Racal oriae ty cep Cee ek $25 
Pa are ay Voce ee es eee “The Nativ- 
Two. Ladies. and Cupid, by Sir ‘Peter SRATRD gles umectmeaa vei 

Lely; Seaman, agent ...... pas 9—Domenico st. Jon”: Otto Bor. 
The Stanley Children, by Sir ‘Williain Child an t. mS 3,050 

Beeches. HH. Lauthier “ses i ss ees 850 NOL, VAR CMM bis ass «ies ose so oe cS oy VRE SS 


11— Angelo Allori, “portrait of a 


Christopher Columbus? Explaining “the “Lady: or ane Bernat Family” 


Project of His Intended Voyage for the 
Diseovery of the New ‘World in the 
Convent of La Rabida, “by - Sir: David 
“Wilkie; Minneapolis. Museum .........1,025 


12—School of Cosimo. Tura, MM a= 


jAnnabella, Lady Blake, as *! Juno,’’ by’ | d84G. Francia, Netonne and. Child 
f- Sir Joshua Reynolds; Knoedler & Co.12,000 with St. John” Ww. a. Peers 575 | 
fKemble as ‘".Rola,’..oy Sir: Thomas. .°~ 14-—G, B. Bertucci, ‘Madonna an . 
 Bawrence; I. W. Shieldsve. vai eo. SC eS 16. Saints’ 8. S ery es 27 
This was the concluding sale and the RO EMER Seta: s. Git athe eye 
trices, though many ‘pictures brought)  46Cola dell’ Amatrico, “The An- | 
ess than Mr. Blackeslee paid for them, nunciation”’; S. 8S. .Carvalho.... 300 | 


were on the whole Se 17—Fra Martino Angeli, “Madonna 
— ere poate: John D. MclIl- 


nny y 
1s—G. Ma ani, “Madonna and 


—~ 


Child’; Holland Galleries. ..... 406 
, -9--Glovanni ‘Boceatis, ~“Madonna : 
| and Angels’; S, S. Carvalho. 500 | 


the Magi’; Albert H, Smith. 375 
91—-Vitale da Bologna, ‘Madonna 

and Saints’; Hy W. Shields... 350 
| \22-—G. lo Spagna, “St. Mary Mag- 


| dalene’; Holland. Galleries. 1,000 | 


23—-B. Boccaccine, “Wadonna, ‘and 


A 


50—Umbrian School, “Adoration of 
i 
. 


} o . Oo 4— oe Hexen BissdTo sen if 
‘Metropolitan Museum Among| °* a Lancscape”; Herbert Du Puy 800 


P5—Andrea Solario,’ “Madonna: and 


. “4 § } and’ Child’’; Otto Bernet, agent, 700 
Buyers—First Night s | 28—-G. da Santa Croce, “Madonna | 
¢ 1 47 99h and es ve pittieans ee 400 
: i 29-——Girolamo azzola, “Marriage o 
Total, $47, a = St. Katherine’; S.S. Carvalho. 2768 
eucaS 31—Palma Vecchio, “Holy: Family 
and. St. Katherine’; Holland 
ie Cee cena See dane She $50 | 
ae | 32—B. Buttinione, “St. John’ an it, tS ail 
HIGHEST PRICE $3,050 Lawrence’; Metropolitan nel f 
SOUMN Ot MART ee aos 900. 
|  38—Antonio Badile, “Portrait of a 
| s an Otto epee eee Sea. 625.4 
; : } { — elotti, “Historica cene’’; 
Sie, sale Ok iene old: master ky eee the Aibert’ BE. ‘Smith.....0.0s. 450 | 
galleries of the late ‘Theron J. Blakes: eee Trepiso, “Madonna & ‘and. saa 
Aika? so Ss 3 ATTUSH yes sts cates 
lee, for many years one of the best} $8—G. Tispolo, “Portratt oot et a 
3 : 3 ian’; er mit 
known picture dealers in New York, at ) s1-—G. B. Pittoni, “The Holy Far. 
racted a large crowd. to the ballroom ily Appearing to St. Anthony’: a | 
Mrs, James S. Johnston. 230... 325] 


of the Plaza Hotel last night, where 42-—Michele Marieschi, “View of the 
the auction is being held under the aus-; 4. Grand paeg Meee ier Poe: 450 
pices of the American Art Association. tion of a Grand Opera House in 
In the audience ‘were many well | 
known collectors, all of the experts eee 
dealers in the city, ahd representatives | 49-—Tiberio Tinelli, “Portrait said to 
lof the museums ‘The prices last night| be Erancesco de Aamina’; A. 
“were not sensational, due to the fact |) #8—Murillé, ‘The Little Shepherd’; 


46--Titian (ascribed to) “Susannah 
and the sane ere Francis. R, 


BI a) ST 9 ised BRDU ye MORRO a ae tae 1,025 || 


that the first night’s programme did not |) 50—-4D: Velasquez, “Queen Mariana 
contain the greatest pictures of the col- 
lection. 

The auction aan with the dispersal 


b1—-Federigo Zuccaro, + ‘waward 
52—F, Goya, “King Charles Itt. of 


58—Claudio -Ceello, ‘fAn Austrian 


of the Italian primitives which had ‘been |) Drinnesaits Albert, @ Plas. aes | 


§4—Pederigo Zuccaro, ‘Lord 


mewly studied and expertized especiall 
¥y p ¥ Burghley”; Albert F. Plapt:... — @D0 
56—J. By. odek “M.' Martinez, “Por- 


for this sale, by Dr. Osvald Siren, the}! 
well known authority of Stockholm. One|! eptiea Young Lady”; QO. Py 


| 
of them, ‘No, 9, the ““Madonna, Child ee bi-—J. P. de la Cruz, ‘The Infanta 
Isabella Bugenta Clara, ~“Gov- 


St. John,” by ‘Domenico Puligo, a pupil || eines of the Netherlands’; 0, 

of Andrea del Sarto, brought the ‘best |) S. Stratton........., Paden eee, 550 

price of the evening, selling to Otto Ber- |) Pe auntie “Wits aay Philip of 

net, agent, for $8,050. | Spain’; Charles 3 Piatt. 00. 700 
The Metropolitan Museum made one | 60—Jacob W. tees “Maria. Jacob 

purchase, paying $900 for No. 32, ie bets Woot"; Otto Herne 

“St. John and St. Lawrence” of Bernar.!) (§3—Gerard van Zyl, “Portrait of a ae 

dino Buttinone, and Joseph Breck, direc- || Nun’; Philip’ Mrolzheimer...., 375 


64-—-Sigmund Holbein; ‘Portrait of 


3 
tor of the Minneapolis Institute of Aut, G uaidy'"s eae a Simmons... HB. 


Lady’: Mrs. MeCormack....... 300 


Dr. Paul Merseh.. 3... Ro sede ns $60 
donna and Child”; W. HE. Evarts 375 | 


ns cea Soe ee Bae 


Child”; JohweDioCrimming. 2... .° 9504 


SV GNIGCEEE sooo REDO beget tame iaigas 625 


WG IS HR iach cia eine aia ghee fs eetulebactaana ale 1,000 


of Spain’; A. E. Smith... 1,050 | 


VI."; Mrs. MeCormdck.),.... 550 | 
Spain’; W. B, Evarts..... 1,100 |} 


ne! 

70-—C. van der Weyden 
the Virgin’; tee 

71. von Sandrart, “Po 


Pen in “Hand; aH 


| 75-—Ferdinand Bol, 48 
pi 42 


Total tease OUI i aN “ 
» At to-night’s: coe 


lecgoration a the Magi” to 
Find a Permanent Hom 


[5 Uaptaw anh ats BS ovine ce of the os 
ing at auctiom of a large painting “by 
Peter Paul Rubens, one of ‘the world’s 
greatest masters, could not prevail 
‘against the tendency toward “sluggish | 
prices at the sale of the Blakeslee col- 
lection last night by the American Art 


Plaza. Ares 

The picture, wphe Wasnetlon: of | ‘the. 
Magi,” painted for an altar in a ¢hurch 
at Bergues, French Flanders,’ sold to 
a buyer. represented by Otto Bernet. 
for $13,000. Mr. Blakeslee paid $22,00 i 
for it. It was said’ last night that 
without a doubt the picture wen ea 
be returned to Europe. — 

Another picture to diminish upon. a 
previous sale price was the SRN tcl ; 
‘painting of “Psyche’s Wedding,” for | 
which Mr. Blakeslee paid $6,000 at the: 


“MacCulloch sale, and which last n 
went to enrich the collection of 
Minneapolis Institute of Art. The baer 
Was $2,100. Joseph Breck, the director, } 
“who was present, was generally con- 
aed upon the acquisition. — 
The room was crowded with the usual 
throng of interested spectators, among 
hem being many artists. Dr. Paul 
ersch of Paris and Sir Hugh Benes of 
ublin made purchases, 


| Association in ithe pallregm et Ra 


t 
“Ra paweea 


taee | iain pried 


Sir William Beechey iA 
mira cue K, ice Otto 


obtained for & portale | 
by Edward Br: 
Lady of the Court of ; 
argilliere. The total | 


ok S omamnatea | 2,750) 
172 oh ee “Going to School”, 5 
SiS. Carvalhoecucy iA 750) 
173-—-George ‘HH: Harlow, “Group. of 


wee i 99, a z| 

| se ata Oy | Pe ea anes © oes ie ag 

date Pi iene Ma: y, ’ “Lady | 174—-Sir' Joshua Reynolds, .. ‘‘Miss A 

es, with ‘buyers and Bestce at a oe te. ans ae. Le cai ‘Palmer ay z 100 
*@ereeoe & a \ teat n BABA P) w elie eo é he Brag 

ei 15 “3 God ay. Kn sller, “portrait ihe, 175=- William f logarth, “Portrait of 

. *Com- ; 4 rp Gaxlty whe Sethe chose of \ BOO] Lee Woffineton’ : Misi de Be mS 

ilaas “Duches a el RRR at a San be aas Stay elk ig -4\ a7 brio Web maedTaaMk i 

Beal POPES: wom ee ws. owt 4 0 tte sit een Be ol po Ie. . ii 276 176-—Sir Thomas Lawrence, 4 Lee: } 


“Amorini,” 
nade s.a wine 1,725. 
YOUN 


Richm 

16%—Sir’ oka "Satade "gogaene ia lop 3 
Mackenzie § Child: 
Seaman, agent tb AO eb WIS die ew Ole 1,085 


At the closing session ‘to-night im- | BPGaerh cle ma wii dia Gish wars Gls 3,600. 
} portant examples by George Romney, 178—Sir Joshua Reynolds, “Countess | 
Sir Laurenz “Alma+Tadema and Sir of Strafford’: BH. K. Gleason. 700) 
“a bas Orchardson: wilt be sold. | | 


pons Buckler Lethbridge, 

tg Ojo ih ofoi atch apt od icy ne ee 600. 
177—Sir oes Reynolds, ‘Mrs. ; 
Musters as ‘Hebe’??; Hi 


179—Sir Thomas Lawrence, “Char- 
1 lotte Liady Strange’’; be 
Frederihiigg ces co. We Pa oes gO 
180—Tilly Kettle, ‘Countess © of 
meena 81 ae Seaman, We 
'181—Sir  oRnaun Reynolds, re eral 
Fortescue’; WB. W, Shields. 1,600) 
182—Sir Henry Raeburn, “Mrs. 


} ; | ; { 
ON) TRY. , 1} Cathcart’; Albért #.. Smith... 11,000) 
a. 4 to i 184—-George Romney, “Tord Hune epee 
“ee Oa tington’: (Hy Préederi¢ks.... <4 2,300) 
SF, aR aS } 85—Sir Joshua Reynolds, ‘“The 
Countess. 6f Amncrum”’; EY Ww, 


% 


tes, ““epontrait of Mrs. $ 
eee Ste ON er TG imate op ihe be 400 | | 


Te Shieldy Vege nae. ee dae va 2000 
a 186—-Richard Wilson, {Rome and ‘ig 
9 66 the. Campagna i 
Sir Joshua ynolds's 8 Lady 1s7—John Constable, “The Old 
lak J 99 . ie NAD i a, bi Wea dpc 7 Meter argt st, 
Bea 9§—Francis Cotes, ‘Portrait o thé 
ae ake as Juno We e | adie Charlotte Johnston’; G. gos 
M. GAWa BEN cutee onda a ware ether as $ 
To Price, oe OQ. 190—-George Romney, “Mts. Drake’; 
P Dr. Paul Mersch MRL RASA rice eR RN 3,900 
=F 192—-Sir Thomas Lawrence, ‘Mr. B. 
f : i i J. Blamire’?; S'S. plies ath 1,000 
\ EBURN 93—John Hoppner, ‘The Countess 
s| $11,000 FOR A aia of Guildford”; H, Fredericks. 9,300 
‘ 194--John Opie, “Girl With Cat’; 
cei Cl isaaeael ~ CR WADA IASON 5, sors iy Cars rob 900 
4 195—Sir Thomas eens ‘Miss Beh i 
‘ ¥ lec- FA of uae on ae BU EE o UE ares cana ea ennTE a 1 
STB | The auction of the Peace lee Nae 196—Henry R. Morland, ‘Portrait | 
ied tion was concluded last night in the, of a Lady”; S. S Carvalho... 550 i 
‘pallroom of the Hotel Plaza by the = M1~spln OnD ory Richatdson’; | 
; Wil Si FOS: ae a, Brahe aera ae Wire ibe tibes Farr Pa Nt i] 
(600) American Art "Association, with sales ee Ree Pidge ponents Lord saan | 
that amounted to $150,125, making a, 199—Allan Ramsay, ‘Portrait of a i | 
th lec- Taidy?'s: R. F. SYMON. 6) 0e is 425 i 
grand total: of $262, 110 for 6. co SiN -Sonh Opie “isines WHitbiead’ i | 
eS HOR TAL Oe neue hacamti, cas ema 2 
tion. 201—George Romney .(period | of) q || 
The atmosphere of the auction room dame Sf Girls” 5. Hy Ps Swen- ee . 
Ait NUE I Ca ea 25 | 
had improved over that of the night gheclitrancis | Gobea, leiicas Mary | 
ee before, for some unknown psychologic phe aer we Ee rate kes A 
% reason, and the bidding was much ae ee Mee i aus, 1,850 
rf . : —Géo ey: “Major ir- 
é brisker, although the prices were still sony HL Trederick. Fiat pate nD, 725 
We De i 205—-Richard Cosway, “Lady Boyn- 
mee Ge eae. ee ay of below those of normal wets ton and Child”; Ehrich Galler- 
| 117- ay,” ‘Holland Gal- The leading figure was $12,000, paid ae ep peat y RY cles rede 2,000 
| NerleS ge eee eee ee ey 359) py M, Knoedler & Co. for No. 236, the ee taut wi ne meager is 
4 67 4 8 b & Co We eR ee we a Be eo es ea ee 2; | 
100 portrait of “Lady Blake ce ee Ms 207—Francis Cotes, “Portrait of Mrs: . 
er dae "4 isir Joshua Reynolds. This picture had Oe. Oy GLOOM yyic vik GOO | 
Pe ae oe er West, ‘Death on the 
4 009 been appraised a year ago by experts, Bale Horse” Minneapolis The ve | 
sdital ln dua tate ve Bitte Of MEee I Gur s Pawel 5 
Mr. Kirby said, at $80,000. \Knoedler as i i 
Cesky OUMT | & Co. also bought the large canvas by 209 s eceatial Lely, ‘Miss Ul a aoe | 
Cotes, weportvait. of @ 659 } Orchardson, “The Young Duke,” for 210—Sir Thomas Lawrence, “‘Lady fn | 
yee) doaiua’ Heynolds, “Youn =. | (96,900. | |oiz Mreceriod WW. Watt,” “the” | 
} 124 to) caren pee The large painting by Alma- ‘fadema, Canal Boats GuB Rand.) sy: 675: | 
ese es x Baraat ide ‘The Sculpture Gallery,” No. 227, Hib 218—Sir Martin | ot Shee, Foe ie 
mas awrence, “Pran- a use Upoen its apa, émble as '‘Cowslip’ ’’; en 
baud rounege Els ne, Kramer $28; | W28 Breeted by apple oreaniee 3, R De. |2144Sir Peter Lely, “Frances, Lady 
Mie Send e t West “Mrs, West pearance, was sold to Cap Digby’; Ehrich Galleries... .. 625 
Lit ena pee anaes 525 Lamar of New York for $9, 200. Sir 215—George Romney, ‘Mrs. Uppleé- 3 
AQT. C eorge el aong “Lady Gtant- Fienry Raeburn's portrait of “Mrs. Cath- | by”; Hhrich Galleries. ........ 10,300 
" ham,” W. D. de Negre........ 575 cart’? went to Albert H, Smith for | 216-John S. Copley, “The Fortune- 
ae: op shua Reynolds; “Sir Wale Bass tt teller’; Bhrich Galleries... sh. 490 
12 r Joshua “vd $11,000, 917-Sir, Henry Raeburn, | ‘Mrs. 
kett,; Bart,” Sir Hugh 
set Kid's ne } 225 Joseph Breck made two Bee for Stewart Richardson’; Phrich tee 
pita Pky pee aan TT oO EE | Bee ata ike Aneta LA ea tet 
Joshua “Reynolds, “Bor. iy the Minneapolis Institute of Arts, buying) Bip hee helena 4 : 
ey trait of the Artist,” O, Bernet.. . 428 No. 208, Benjamin West's spirited sketch, | 219 ea Cotes. “Girl ie ics visage 
| 91S Joshua Pave ty oy “Death on the Pale Horse’ and Sir’ 220—G. Bs Watts, “Lady and Two 
es eon sath ‘ 300. David Wilkie’s “Christopher Columbus,” he sigs pian hed sakes Rage 300 
My Ce YL a et ae ie, elie pap feel hom 18, Ma ih 
| hgaues ips he “Romney Cigriog oe) Bee ae list of pictures, buyers and prices cule of ertfora': Oc’ Berner, mee 
phn , P 28 io) : ois ie AOC an Raa a Uli ont Meat a 4 ope 3 
Mer BOW s Per ee ee 22 | ay y ig | abaaugte Joshua Reynolds, ‘HWarl “ 
| 1g2—trancls ‘Gotes, boronic of the . ae eae Oplre TG Ate ST Moe ae | ghee Ce aeceL pang et 2,150 
et hth of sp dona aga aug i Bsyit 165—si THOMas Lawrences, |. “Phe. |: $34—-Sir. Godfrey Kneller, “Portrait 44 
Ey Pe 350 lees “esex’: C. . Wille. of Williata UT.’: SS. Carvalho 575 
ie of wae BD ls A ¢ 25—-Sir Godfrey Kneller, ‘‘Sophia, 
: Saas) eM RRs, tatiana, ‘diced ee ta 
ry 4 sai By Aa _ Si Dawa Wilde, “ting wilt! 
u2<Georke: ‘Henry ari isi ate 168 Doi Hoppner, ‘‘Portrait of a6 sir ae : 
nts ; Ma HOW OW Beaman, 
pe Lai Baal arene Saaeaaiaas 306 | Lady Campbell’; Mr. Afnold.. 4,200 Hoe me fn SE CURA 


Q7—Sir “Laarenz Aly a 
“The Sculpture Ga lery’’; 


TORE DS De eh ae 
28—Sir william Q. Seon, 

ae Young Duke”; Knoedler 
29—Sir David Wilkie, “Queen "Ade 

laidée''s SB. .Gr Carvalho view... s 
30—Martin Cregan, “Mrs: Hawkins <a 

and Children’; BF... Ward.. 750 
21—Sir \Thomas Lawrence, “Lady 

Shaw’; Raph, H. Booth. 1,400) 
32—William on,’ “Sir Charles 

and. Lady Lucas”; O. Bernét, . 

ATT ee ea ce elosa “ke buy ass 450) 
34—Sir William Beechey,. “The 4 

Stanley Children’: H. Lanthier 850. 
35—Sir David Wilkie, ‘‘Christopher “I 

a Soe Explaining the Proj- 

ect 6f His intahde Voyage’; 

Minneapolis Institute of Arts. 1/025 
386—Sir Joshua Reynolds, “Anna - 

bella Lady Blakevas ‘Juno’.**; a 

EENGCOLER So GO eos sk Vo eS 12,000) 
87—Sir Thomas Lawrence, ee 

as ‘Rolla’ ’’; BH. W. Shields. 375 


Beh Prices 
Mark Sale of 
Blakeslee Art 


Eighty-Two of Least Important Paint- 
ings Fetch $47,335. at Start 
of Dispersal. 


a rd 


Dispersal of the collection of paintings 
feft by the late Theron. J, (Blakeslee, art 
dealer, bagan last night in the ballroom of 
the Plaza Hotel, under the auspices of 
the American. Art’ Ajssociation, 
Thomas E. Kirby presiding. The Tet] 
important of the pictures were sold on 
first night, and the prices obtained ae 
regarded as high. The elghty-two paint- 
ings brought $47,335. (Most of the buying 
was done by private Seay 

The highest price was $3,050 
donna, Child and St. Teh, ” by Ponies 
Puligo, bought by a collector represented 
by. Otto Bernet. The next highest price, 
$1,625, was paid by Lewis & Simmons for a 
landscape by Johannes van. Kessel. 

Bryson Burroughs, curator of paintings 
of the Metropolitan Museum of Art, in 
behalf of the Museum, paid $900 for Ber- 
nardino Buttinone’s “St. John and_- St, 
Lawvrence.’’ 

Other pictures which sold for: $500 or 
more, with the artist’s name, the title, the 
buyer and the price, were as. follows :— 
Master of the San Miniato altarpiece, 

“Madonfa and. Two Adoring Angels;’’ 


- Murillo, ies PC 
‘Smith veces eo Gaeeaty Laos tele 1,025 
Velasquez, “Queen. Mariana “of ‘Spain;"” i Sie 
or Smith oe ee eee * Edesetos 1,050 
Federigo Zucearo, “Riward a Mrs, Me- 
Cormack © eid Gen ee ee ee, ¢ ewe 8 Sate Ws oles 550. 
Goya, ‘‘King ‘Charles Tit. ‘of ‘Spain: Papa 8 34 £. 7 
Foyarts ... - 1,100 


ders: Tranche oe ‘Wels EWA te SMa Sores 
“The. ‘Tittle be ge ar Waa Ge <a 


Federigo Zuctaro, “Lord Burghiey; “Albert 
#. Flaut 
Martinez, “Portrait oF a Youtig. Lady; 9 0. 


en ke ee wh ele ee ee we hw 8 wee te es 


‘Kanfmann. tt) 550 
; Juan Pantoja de la ‘€ruz, Tnfanta ieabeila 
Eugenia Clara;’’ OQ. Stratton. . Je dwdewcoee.) OOO 
Coello, ‘Anne of. -Austria;” Charles R : 
BTA te Acs Trees Geo a ee ath SG ean 700 
, Sigmund Holbein, “Portrait of a uady ;’” 
@ wis & Simmons. Mi ay hays Uris, Se Bata 500. 
Judith Leyster, “Youth with a Cat; “its Ben- ; 
jamin Allene SNe ae Lae Secure i : 850 
Lucas Cranach, ‘‘The Jeweller’s Daughter;”’ 
1 Deed S30 ce ba RRS AUN CCN ital ont Pais a ee RRR 1176 
/ Cornelis Janssens, ‘Man with lace Collar; eee 
Philip’, Berdizheimer; 0.507.) Ua _ 600 
- Gabriel. Metzu,>“‘A. Visit to the: Nursery ;’ 
‘Benjamin’ ‘Allen. SR ai et deter one ORR ADEN ae a 176 
Daniel -Mytens, “Portralt ofa Gari; 6 Fred j 
BE! OW. Seat Mh ayes suse hs he et 600 
Coswin yan der. Weyden, ‘Spamily wok, the 
Virgin, Wbrieh Gallery, oo. aoe See 725 
Jacob A. Backer, icy with Pen in Hand;’’ 
Francis R: Welsh SEES Ricy SEERA: . 1,025 
M. J. Van ‘Miereveld, “Dady with Ruff;’’ ‘a 
ECOLIOC LOM Gone ccrate Mote ions ek a ae vnale 650 
Ferdinand. Bol, ‘‘Lady and Two Children:’” 
Plenty: LAU hier .2 eck vey eas SOs awe . 800 
Nicolas ‘Maes, “Portrait of BDAY 32 Oe oe 
WS ONE ELORC Sars tesiecats svete ts ie une wien pane NA atpntuteS 675 
Nicolas ~Maes, Pamily "Group;"’ Erich 
Galleries 22000. e. es Sis ate tla Sis vietom eee 525 
M: J,~Van- Miereveld,  ‘‘Marguerite Van 
Rromkort:’’ WE, Brarts ropa y OB SG tia Ree a We 625 
Salomon de Koninck, ‘‘Sophonisba;’’ a ‘ool- 
ria boy gay AEs a USS gS URROa ABD MEA cay Saree 600 
Paulus Moreelse, “Tmey Harrington:’"” a col- 
MOT ANT Ch ste voca tote) SURI OE ST URS ab later unelerenons 5 550 
Among {the pictures. which will fe sold 


PRL VBELOIZHEIM ET 6 iiso.oe5 s/s oe weiss cl ernke’s $700 
Bronzino, ‘Portrait of'a Lady of Quality;"’ 
MOL ATICISS By SVVC LINE © ticradale See misress Biereale ¢dcoce ate 1,400 
Giacomo. Pacchiarotto,. ‘‘Angel Musicians’’ 
(DAA TA COTECTGE SN clean ce aleatou tives cals 750 
Master of the Oriental Sash, “Madonna, 
Child and St. John;’’ Albert B, Smith... 825 
eMuesiro Tommaso, “The Nativity ;’’ Philip 
Berolzheimer ......20.- 625 
Broenzino, “‘Portrait of a Lady of “the “Oor- 
naro Farmily;’’ Paul Merseh.i. oi. se eee 800 
Giacomo Francia, ‘‘Madonna and Child with 
Stodohn 372 WG. SOharles cs) eit. es beetle 575 
Domenico” Alfani, ‘‘Holy Family sand St. | 
Johns” a collectore.. oly. cb veraatewisale 575 
Fra. Martino Angell (?), °{‘Madonna:, and ' 
Saints;’' J. D, Mellheney ea RON Sie Maret a gists — B25 
Giovanni Boceatis, ‘‘Madouna and Angels; oh? 
PROOLIC SDA ia hkg 4's OH 6 Mean ene MN SLC ea 500 
Giovanni Jo Spagna, “‘St.: Mary Naudaiene:’ 
Folland ‘Gallery. a cee opie wee ya OBC SE ae 1,000 
Boceacio Boccaccino, ‘“Madonna and Child:’’ 
OD AP SOUP TAIT Y 55 kia ln ers ecemiamuntaatste ce foes 950 
Andrea .-Solario, “‘‘Madonaa and’ Child;’’ 
Otto Beraet; GRAN Sy ei vi iy thlete estechsiace 700 | 
Bartolommeo Veneto, “Portrait of a Lady;’’ 
Mrs..H. 8. Bstabtook LEE a ee ee! 700 
Antonio Badile, > ‘Portrait. of a Lady:'? 
MLD OTHOt 7 ARON s Seeatoaice so icse ci ws eed 4h 625) 
Girolamo da Treviso, ‘‘Madonna and Child;'’ | 
Be To SERA ERD 5 2 sta ls, ftety ae WIS ek a sal nckido cose 800 
Canaletto, ‘‘Grand Opera House, Venice;’’ 
E. Ridley 625 


ee oO a i a i ae 


with | the oe ee 


to-night will be Rubens’ “The Adoration es, 
Ne a 


AUBENG $1.00; 
LIMESHEE SILE 
ENEHES 60 


“Adoration of the | 
Which [te r Paid 


$22, 300, i. 9a . Bee 


NEW OWNER arr Haale 
TAKE IT ABROAD 


Minneapolis. Museum Buys Burne- 
Jones for $2,100 That Cost 
Mr. Blakeslee $6,500. 
“Adoration of the Magi,’’ by Peter Paull 
Rubens, for which the late Theron J. 
Blakeslee, art dealer, paid to. the Wert- 


heimer Galleries, of Londen, $22 last 


night was soldat auction by,;Fhomas oH. 
Kirby, of the American Art Galleries, at 
the Plaza Hotel, for $13,000;. at the second 
session of the dispersal’ of the Blakeslee 
eolléction.. The. buyer's: name was not 


made public, but according to Otto Bernet, | 


who acted as his agent, the picture. will be 


taken abroad. 


3 MMinneanelin is ; 
by its director, Joseph Breck, ; 
$2,100 Sir Edward Burne-J 
@écoration, ‘“Psyche’s W. 
ture, regarded as one of hi 
was bought by Mr, Blakesle 
peeCulioch, sale in Londo 
» The Rubens, which — 
Miatoey” from the time 
and, and which the ex 
almost entirely by Ru 
ures in the background 
sistants; is énormous i 
féet high and ten 
fale a Rubens sold 
a Rubens was sold 
Association for $50,000. 
Van Dyck F 


SSA: Lady of the CC 
catalogued as a Van 
collector représented 
$5,100. ‘Portrait of 
Louis XIV,” by Largil 
Fdward Brandus for. $7,500 
gh ca tete ated 


more, woh Tee artis 
logued, the | title; 
thé price, are as ( 
Vigte Je Brun ‘Gi 
Benjamin Allen ... 
Fraticois ‘Pourbius 
Targilliére, “ 
Pelet;’’ Betijamin A’ 
Pierre Mignard, 
FAMES eee Se gy 
Louis T'ocque, “Madame 4 
C.F. Williams? . S 
Antoine Vestier, i 
@harles A, Platt. Rete Le ont 
naguek aes “aphiithie. bad 
P. “Sevenson) ... Jess. 


Rie le Brun, “Madame: VE 
Bernét, agent . Ren 5 

Largilliere, “Due de_ Pent ie 
Bernet, agent. 205203 


Francois Guerin, u 
Garcon endormi;’? Otte oc 
Hyacinthe Rigaud, ‘Due 4’ Ai 
. randligt ae ee ee 
Carle Van Loo, “Portrait 
iGeorge Fy, Rand, . tine nee eae 
Carle Van. Loo, «Comtesse de Bea: 
ag mW, 
Lonis APS 
aady ? Charles 8: beisgel Bal : 
Francis Pourbus, ‘Anne of Aa 
ward Brandus, «0.5 fsei0, 
Jean Francois de Tere 
Tady;’’ O. Strattan: 
Adelaide Guiard, 
WW, Wi, Sesiman, agents #5 as +s 
Hyacinthe Rigaud, “Madame: “Binnad;" 
Cherleég A. Platt. z 
Hyacinthe Rigaud, 
Seaman; ASeHts oo eae 
Adelaide Guiard; 


CRE eh eee 8 ak he Oe a Ble eae ee 


Take ee tN ase 
** Po 


roe 


SRN RO Reng © 00 1e)'8 Oca Be ee! Wie me phe eee oe 


Bernard Van Orley, 
James. D, Brown 


oe eal biter es ae ene ew 


Peter Paw Rubens, ‘Head of Brincess ie! if 


abéeth;"’ Otto Bernet, Glenys get 
Tustus Suttermans, “Portrait of a ‘Spadien 
Lady; Holland Galleries. so. 7.2.5.0" ; 
Jobn Opie, "The Yotng Musician; Wi. B. 
Pah PORE Hout Bera a reay Caplin faces Re Lapeer Le tae (8 a 
Francis Cotes. ‘Portrait 6f a Lady 
ARDC UT YDB ING sks See 5 eee aka LP Nero 
Sir Joshua Reynolds, ‘John Armstrong: Ry 


Holland Galleries 


PP Re hw Me ih ee SE Tat he eh ei piie dee e 


Sir Thomas Lawrence, ‘Francis Mountjo¢ 
Martyn:’? A: Kramer SRM PR aS AB alah a Slade a 
Benjamin West, “Mrs, West and Oty 
Re l., Samos 


tied Bel Mate a ae ee ey a hh eee Pe ele pth ee ee 


COR oP aS Ayer Bye 808 oh 9 a py ws ten emie aere ia gl talon as 


‘Portrait of the Ar- 
Ott ib the Barnet: agent 
Sir Joshua Reynolds, 


) as a PSE en Sse, 


RP wr Pee as! > wig) Sine Si es b 


“Sir Robert Palkj? R. 


mA ys 3 
rade in Red; or W. * 
ea ei city” R cay 


505 
875 


2 
. 
$ 

ce 


Aah Ss ane et 


aT ee tee is 


Kerr. 


ee ee ee oe eg Se ee 2 ee, oe ee eo 


TS. Uppleby, bs ou which ps 
aid $15,000, went to the Ehrich) 
: s $10,300. Raeburn’s “Lord: 

eee heh cost $7,500, was bought by. 
fr Wradinions. for $3,400. Romney's “Mrs.) 
Drake,’ for which Mr. Blakeslee paid Col-. 
vag $18,500, went to Dr, Paul Marsch for, 
f) o " 
Fora Raeburn, $11,000. } 
One of the finest pictures in the collec-' 
tion, Raeburn’s ‘Mrs. Catheart,’’ for: 


Mes, pia “the | 


ortrait os a Man;” 


Vive Ationensian® 2 which Mr. Blakeslee paid Count Trotti 
an, agent...... $29,000, went to Albert E. Smith — for. 


11,000, and Reynolds’ ‘Miss Theophila 
Palmer,” for which the dealer paid 
Agnew, of London, $25,000, was sold to a 
collector re resented by W. W. Seamon 
for $6,100. .Hopper’s ‘Portrait of Lady’ 
Yampbell,”” which cost $12,000, went to Mr. 
Arnold for $4,200. Hoppner’s ‘Countess of 
ldford” was acquired by H. Fredericks) 
for $9,500. 
Other pictures. which aold for $300 andl 
nore, ‘with the artist’s name, the: a 
the buyer and the price, ate:— 


oe 1,025 
n to-night the fmpor- 
old English ab marion 


ee 


John Opie, ‘‘Portrait of a Boy;'’ Otto Ber- 

het, Mpential gio 2k 5. 6S PMN elt pares $350 
‘Sir Thomas Lawrence, “The Countess of 
Y Wossex;’? C. Po Williamson. 6.0. ..40..5.5 1,075 
Sir ‘Thomas Lawrence, ‘‘Head of a "Girl; ane 

Cysuliy WIAINBOR oo eo sk ty ee ke 575 
John Hoppner, “Portrait. of Lady Camp- 
Be 62? Wim AM ee is 4,200 
'George Henry Harlow, “Portrait of a Lady : 
' with Red Hat;’? Geonge Dennis.......... 875 
Sit. Peter Lely, ‘°The Duchess of Cleve- 

MAINE so 1H) “COULOCHOR is 58 Sl an his 400 
John Constable, “Hampstead Heath; A R. 
fh Tae OAPROIRES fay pocre Niwa tec aol ek ye aloe ie? THO 
John Opie, ‘‘Going to Schodl:’? a collector. T50 
George Henry Harlow, “Group of Two Chil- 


dren; ??.:0,-¥". Williamson... Lg hh BRR 25 
William Hogarth,’ ‘‘Portrait of Peg Wof- 


TIGELON I oN Sas ne eens 950. 
Sir Thomas Lawrence, ‘‘Sir Thomas Buckler 
Lethbridge, Bart;’’ H. Fredericks Secs sk 600, 
Sir Joshua Reynolds, ‘““Mrs, Musters as 
: Hebe;? H. Fredericks. , os eB, 800 
Sir Joshua Reynolds, “Countess ‘of Strat. 
LOPE OLA LOA SOR ed aia web's nie 700 
‘Sir Thomas Lawrence, “Charlotte, Lady bee 
| Strange;’”  H. Hyredericks... 2.665.000. 601 2,400 
Tilly Kettle, ‘Countess of Strafford;’’. W. 
iC Segment Meena aii olbie ae +a. 425) 
Bir Joshua Reynolds, Mrs. Fortesc 2! bag 
We Mbiadd eC. eae ij = 1,600 
George Romney, ‘‘Lord Huntingdon ; sn ‘i. 
oY BPOURLIORS itis her SRR TS Peta oe ak ore 2,300 
(Sir Joshua i eau hae “The Countess of abe 
A = Anerum;’’ WY Si Iel a Bite 6 ice oka 2. 
With a total of: $262, 235 for the 237 paint- eRichard hide ‘Rome and tke Cam- 
disper: = pagha; F 5 UO CR etc Caner etn MR Latte a ‘ 1,500) 
ings sold, sal of the Theron J. “John Constable, ‘The Old Mil; ©. F. 
te pete came to an end ifs Pi WMiilanmam ical ater co. a8 2,500 
: “Francis Cotes, “Portrait of the Hon. Ohar- | 
-  lotte Johnston :’ Ge MS ELOWAL eas 6b ess 1,025 
Sir Thomas Lawrence, UME He Je Blamire ; e007 
Be @ COMBOUOD Maca eciu CME ed daw v es eleN 1,000 
nob Hoppner, “The Critnenes of Guild- 
eM ih nf antdebes = yige ip = 0 0 =) it eI ty erat 9,500) 
John Opie, ‘Girl with Cat;’? C.F. Will- 
ES RESTON Sia lacs ave aa iplc ow cone BER Ree rot ere ata dig dead 900 
‘Sir Thomas Lawrence, ‘“‘Miss Hare;’’ B 
bat AMOI fea tttai nes cera ir ieee ke ORE) hy 950 
Henry R. Morland, ‘‘Portrait of a Lady;” 
SB) COLO CTO 2 5 bl ibaa Wipe einen y Hoek dar a0 
iJohn Opie, “Mr, Richardson;*’ Mrs, J. H. 
RI ew Ab street RE Tras ee Si re eee  g 300 
Allan Ramsay, ‘‘Portrait of a Lady;’’ Ry BF. 
IS PMMOE CR aie puta ie Cale a Manly Diss s'rigitie eratwipis 425 
+e ¥ o? Bes 
‘Bald $8500, was sold to Knoed. "HE CM, ME Hes WEE 8 
. for $12,000. The enormous por- came pougones (period of), ‘‘Country ie 
Ts BS WeNSOW vols ieee else eide nt es 825 
Sir Thomas Lawrence of Kem- Francis Cotes, “Miss Mary Dashwood;"’ i 
_ the character of Rolla, so large Charles A, ee aL yar so 1,250 
at only. e special gallery can accommo ("Hits Bepehen, “Laat Harvie Ver 
> it, went to E, W, Shields for $875. eerie Reba i “Major Peirson;’’ H. “da 
“Wea Yr ts aye PO CACDEID ac talern cua ee Megtaaty: aie ta’iprbup a, lo aamts 7 
ardson’'s The Young Duke, for Richard Cosway, ‘Lady Boynton © and 
which Mr, Blakeslee paid $28,000 at the Ohild;’* Bhrich, Galleries... .....55..-44/: 2,000 
Misperaal of the McCulloch collection im | S't, Jogims Reynolds, | Miss Bitty Bischers” 550 
A SES, : foe pte Aw ren ie a Pe atal ecw Waka wid e's wie. Piss 
sondon in 1913, was bought by Knoedler & (Francis Cotes, ‘Portrait of Mrs. Olive;’’ At. 
Co., for $6,900. | HB. Stome........+ Fatt teenth netted ayes 
apie R. De Lainar bought tor, |Peeey Mere te Musca. 27 
$9,200 Alma-Tadema’s ‘‘The Sculpture Gal- Sir Peter Lely; ‘‘Miss Elizabeth Liddell ;’ 
lery,” for which Mr. Blakeslee paid at the! Gdobee WAGs odode 055.0 bay u dye 600 
McCulloch sale $13,650. Sir Thomas Law-! ae Thomas Lawrence, ‘‘Lady Melville;”” 
arquis of “Hertford,” for which | . Otto Bernetyawent i... ees eee ee ees 5,100 : 


iiavelag no watts “Tne” Canal Boat: 
George T. Rand... 0.0.0... es Dye vas OT 

Sir Martin Archer Shee, “Mrs, Peer as. 
““Cowslip; AALS « hav DOE Ragigereeeep Pin wsaee sey 

Sir Peter Lely, ‘“‘Frances, Lady Digby.” 


Watch alertess ccs. LG a reae de eee cae 624 
John bas cag Copley, ‘‘The Fortune Tel- | 
ler ;?? Veh: Galleries (i Va8 as ran curt cy 400 
Frances Cotes, ‘‘Girl with a Harp;’’ Charles : 
$55 ARPA cat chs Gs teeta erate It wine rote ara 300. 


‘George Frederick watts, “Lady and Two 
Children;’’ EF, j 

Sir Joshua | eae dre oh he ‘*Harl Gow- 
er Gherapy of Stafford) ;’’ Otto ‘Bernet, ‘ sa 


GROW Sa es pitt ne nin Caso whack teste nae as 
Sir Godfrey Kneller, ‘‘Portrait of William { 
TRE) a Olleobon yo 4 dt 50 ee Vk ote Be 
Shr Godfrey Kneller, ‘Sophia, Wife . of i 
George I. ;’’ Otto Bernet, agent. . ays to) | 
Sir a Ale Wilkie, “King William. 1¥.; oF WwW. / 
W. Seaman, agent.........e.cs00 25.5 e 654) 
Sir ‘David Wilkie, “Queen Adelnides ( 
B COLEGLON Sys Hoenn 8 Cerne os 60¢ 
Martin Crégan, *‘Mrs. Hawkins and Chil- | 
Fa Rad <3 Wen EGA. ‘289 eT LES on MMe Rr [50 
Sir Thomas Lawrence, ‘‘Lady Shaw: 7 
PbBbAt WN EL OOH uk cl act Cr aaeee ala ai 1,400 
‘William Dobson, ‘‘Sir Charles and Lady | 
Luecas;’? Otto: Bernet, A ROT ae ome Cee 450 
Sir William Beechey, ‘‘The Stanley Chil- | 
dten;’? “Henry: Lanthier 26.3 oS SiC 


Sin David Wilkie, ‘‘Christopher Columbus:’’ 

in the’ Convent ‘of La Rabida; Mere 

AELISEUIA" Ait aed whe che aie wel a Giilan an eee ee 1,025 

There are still more than five hundred 
‘paintings to be sold, few of them, how- 
rev er, of the importance of those already 
dispersed. ‘These, it is thought, will be 
offered at auction next season. The deb 
‘of the Blakeslee estate are nearly $600.000. 


aA rin ESO 
- oP % 


2 mem pe te Ri 


APR 20 1915 


ON FREE PUBLIC VIEW 


AT THE 


AMERICAN ART GALLERIES 


MADISON SQUARE SOUTH, NEW YORK 


Be eeaINNING THURSDAY, APRIL 15th, 1915 


AND CONTINUING UNTIL THE MORNING OF 
THE DATE OF SALE, INCLUSIVE 


HIGHLY VALUABLE PAINTINGS 
FROM THE 


BLAKESLEE GALLERIES 


Pompe SOLD Al“UNRESTRICTED: PUBLIC SALE 
IN THE GRAND BALLROOM OF 


IU GU ES PARA FA vee" De O74 BM i be 


BET WAVENUES oSthret Os 590th4, STREET, NEW YORK 


ON WEDNESDAY, THURSDAY AND FRIDAY EVENINGS 
APRIL 21st, 22nd and 23rd 


BEGINNING -PROMPELY GAT 8.15 O'CLOCK 


ILLUSTRATED CATALOGUE 


ORFTHE 


EXTENSIVE COLLECTION 


OF 


HIGHLY VALUABLE PAINTINGS 


BY THE GREAT MASTERS 
OF THE EARLY ENGLISH, FRENCH, FLEMISH 
DUTCH, ITALIAN AND SPANISH SCHOOLS 


FROM THE WIDELY KNOWN 


BEAKESLEE GALLERIES 


OF WHICH, ON APPLICATION OF THE COLUMBIA TRUST COMPANY AND 
MRS. THERON J. BLAKESLEE, ADMINISTRATORS OF THE LATE THERON J. BLAKESLEE, 
SURROGATE COHALAN HAS ORDERED A PUBLIC SALE TO BE MADE 


IN THE GRAND BALLROOM OF THE 


PEAZAY HOTEL 


FIFTH AVENUE, 58th TO 59th STREET 
ON THE EVENINGS HEREIN STATED 


THE SALE WILL BE CONDUCTED BY MR. THOMAS E. KIRBY 
AND HIS ASSISTANT, MR. OTTO BERNET, OF 


THE AMERICAN ART ASSOCIATION, MANAGERS 
NEW YORK 
ite) te. 


aps 


ao ea 

¥ te ey, a Ye : 
My cectes eee if a and nt on ¥ 
cn Re a pice Pere: ae oe 


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aa _ - ni Tie 
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et ey. e 1 * hme 
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THE AMERICAN ART ASSOCIATION 


DESIGNS ITS CATALOGUES AND DIRECTS _ 


ALL DETAILS OF ILLUSTRATION 
_ TEXT AND TYPOGRAPHY 


ie “ 
{ Pd 


CONDITIONS OF SALE 


1. Any bid which is merely a nominal or fractional advance may 
be rejected by the auctioneer, if, in his judgment, such bid would be 
likely to affect the sale injuriously. 

2. The highest bidder shall be the buyer, and if any dispute 
arise between two or more bidders, the auctioneer shall either decide 
the same or put up for re-sale the lot so in dispute. 

3. Payment shall be made of all or such part of the purchase 
money as may be required, and the names and addresses of the pur- 
chasers shall be given immediately on the sale of every lot, in default 
of which the lot so purchased shall be immediately put up again and 
re-sold. 

Payment of that part of the purchase money not made at the 
time of sale shall be made within ten days thereafter, in default of 
which the undersigned may either continue to hold the lots at the 
risk of the purchaser and take such action as may be necessary for 
the enforcement of the sale, or may at public or private sale, and 
without other than this notice, re-sell the lots for the benefit of such 
purchaser, and the deficiency (if any) arising from such re-sale shall 
be a charge against such purchaser. : 

4. Delivery of any purchase will be made only upon payment 
of the total amount due for all purchases at the sale. ; 

Deliveries will be made on sales days between the hours of 9 
A. M. and 1 P. M., and on other days—except holidays—between the 
hours of 9 A. M. and 5 P.M. 

Delivery of any purchase will be made only at the American Art 
Galleries, or other place of sale, as the case may be, and only on pre- 
senting the bill of purchase. 

Delivery may be made, at the discretion of the Association, of 
any purchase during the session of the sale at which it was sold. 

5. Shipping, boxing or wrapping of purchases is a business in 
which the Association is in no wise engaged, and will not be performed 
by the Association for purchasers. The Association will, however, 
afford to purchasers every facility for employing at current and 
reasonable rates carriers and packers; doing so, however, without any 
assumption of responsibility on its part for the acts and charges of 
the parties engaged for such service. 

6. Storage of any purchase shall be at the sole risk of the pur- 
chaser. Title passes upon the fall of the auctioneer’s hammer, and 
thereafter, while the Association will exercise due caution in caring 


for and delivering such purchase, it will not hold itself responsible if 
such purchase be lost, stolen, damaged or destroyed. 

Storage charges will be made upon all purchases not removed 
within ten days from the date of the sale thereof. 

, Guarantee is not made either by the owner or the Association 
of the correctness of the description, genuineness or authenticity of 
any lot, and no sale will be set aside on account of any incorrectness, 
error of cataloguing, or any imperfection not noted. Every lot is 
on public exhibition one or more days prior to its sale, after which 
it is sold ‘as is” and without recourse. 

The Association exercises great care to catalogue every lot cor-— 
rectly, and will give consideration to the opinion of any trustworthy 
expert to the effect that any lot has been incorrectly catalogued, and, 
in its judgment, may either sell the lot as catalogued or make mention 
of the opinion of such expert, who thereby would become responsible 
for such damage as might result were his opinion without proper 
foundation. 


SPECIAL NOTICE. 

Buying or bidding by the Association for responsible parties on 
orders transmitted to it by mail, telegraph or telephone, will be faith- 
fully attended to without charge or commission. Any purchase so 
made will be subject to the above Conditions of Sale, which cannot 
in any manner be modified. The Association, however, in the event of 
making a purchase of a lot consisting of one or more books for a pur- 
chaser who has not, through himself or his agent, been present at 
the exhibition or sale, will permit such lot to be returned within ten 
days from the date of sale, and the purchase money will be returned, if 
the lot in any material manner differs from its catalogue description. 

Orders for execution by the Association should be written and 
given with such plainness as to leave no room for misunderstanding. 
Not only should the lot number be given, but also the title, and bids 
should be stated to be so much for the lot, and when the lot consists 
of one or more volumes of books or objects of art, the bid per volume 
or piece should also be stated. If the one transmitting the order is 
unknown to the Association, a deposit should be sent or reference sub- 
mitted. Shipping directions should also be given. 

Priced copies of the catalogue of any sale, or any session thereof, 
will be furnished by the Association at a reasonable charge. 

AMERICAN ART ASSOCIATION, 
American Art Galleries, 
Madison Square South, 
New York City. 


ITALIAN PICTURES 


ATTRIBUTIONS AND CRITICAL NOTES BY 


DR. OSVALD SIREN, STOCKHOLM 


DESCRIPTIONS BY 


MR. WILLIAM ROBERTS, LONDON 


THE ITALIAN PICTURES IN THE BLAKESLEE 
COLLECTION 


INTRODUCTORY NOTES BY DR. OSVALD SIREN, STOCKHOLM 


Amon the sixty-two Italian picturesin the Blakeslee Collection which I had 
the opportunity of seeing last Spring in New York, is none by any of the 
most famous masters of the Renaissance, but several by minor painters which 
are of great interest both to collectors and to students of Italian art. I hope 
that the following notes may serve to point out the special historic value of 
a few of them when they are placed in their proper schools, and, wherever 
possible, under individual names. Most of them had quite arbitrary attribu- 
tions, if they had any names at all. 

I need hardly state that in attributing the pictures to definite artists it 
has been my endeavor to go as far as possible. But this is only possible at 
all when the painting shows a marked original character. There are, alas, 
some other pictures which have gone through so many vicissitudes, in the 
shape of repeated cleanings and restorations, that they have lost most of 
what they once may have possessed in the way of genuine style and char- 
acter. In such cases the expert’s work becomes almost futile, and it must 
be left to the intelligent beholder to use his own discrimination. 

As the Catalogue contains short statements about every artist or school 
to which the pictures are attributed, and, where necessary, a few remarks 
about the quality of the pictures, I can here limit myself to shortly touch 
upon some of the more important paintings, giving additional reasons for 


their identification. 


The earliest period of Italian Renaissance Art (if we reckon its be- 
ginning from Giotto), the Trecento, is represented in the collection by one 
picture only, but it is of considerable historic interest. It bears the name of 


Cimabue, an honor bestowed even upon many less important and less early 
Trecento-paintings, though it is evident that the picture has nothing to do 
with the Tuscan School at all. It has been done by Bologna’s leading 
Trecento-master, Vitale, usually nicknamed “Vitale delle Madonne.” 

In an article in Rassegna d’ Arte, Feb., 1910, Dr. T. Gerevich gives 
documentary dates to the life of Vitale. The painter was born during the 
first decade of the fourteenth century and died between 1360 and 1870. 

Vitale’s artistic style is known to us mainly through three Madonnas in 
his native city; one in the Pinacoteca, one in the church of San Salvatore 
and one in the Palazzo Davia-Bargellini; the one in the Vatican Gallery in 
Rome being sadly repainted. ‘The first named is signed and dated 1820. 
But there can be little doubt that the date has been altered at some later 
epoch; the style of he painting proves that the master did not work in the 
second decade but towards the midst of the century. This is also confirmed 
by the date on the Madonna in the Palazzo Davia-Bargellini, which is 13845, 
and by another Madonna, published by D’Agincourt (pl. CX XVII), with 
the same date. The Blakeslee picture is possibly still younger; it stands in 
the closest relation to the “Madonna della Vittoria,” now in San Salvatore, 
but formerly in San Giovanni at Monte, outside Bologna. 'The composi- 
tion is practically the same in both, and the Madonna’s elongated type of 
face with the long nose and the large almond-shaped eyes show scarcely any 
variation. The two boys are also very closely related, the one in the Blakeslee 
picture being perhaps a little more solemn in his performance of the 
ritual blessing while sucking at the mother’s breast. ‘Two monumental 
Saints and some small figures on the pediments add to the decorative effect 
of the picture which has only been infringed by cutting off a piece at the 
bottom. 

Two other pictures in the collection reveal still the Trecento tradition, 
though they are painted three or four decades after the close of the four- 
teenth century. Both represent the Madonna seated in a low position, on 
a cushion or on a bed of clouds, with the one leg bent under her and the 


other knee raised so as to offer a suitable support for the child. ‘This ele- 


ment of composition is a favorite one among the late Gothic painters in 
Italy, because it offers a fine opportunity for rich display of undulating 
mantle-folds and sweeping contours. The Virgin and the Child are united 
in a group which harmonizes perfectly with the ogival arch of the enclosing 
tabernacle. The figures are more pattern of design than representations of 
human beings; the principal aim of the artist being not representation, but 
pure decorative beauty. 

The first of the Madonnas in the Blakeslee Collection is of Florentine 
origin; it is painted by the very attractive master I characterized some 
twelve years ago in my book on Lorenzo Monaco as “il Maestro del Bam- 
bino Vispo,” but who later on has been identified by me as Parri Spinelli. 
The picture belongs to a comparatively early period in his career, when he 
still worked under the predominating influence of Lorenzo Monaco, the 
probable date of it being about 1415-20. 

The other Madonna-picture is not at all Florentine, though it seems to 
be showing a general resemblance to the first one in regard to its composi- 
tion; it is by a painter of the Marches. The school becomes evident in the 
Virgin’s heavy, flat type and in the exquisite ornamentation of her precious 
white dress. But the individual master is in this case not so easily found. 
There are many unknown painters among the March-men of the early fif- 
teenth century. The leading master of that school was, at the beginning of 
the Quattrocento, Lorenzo da San Severino; but he is, as a whole, more 
primitive and rustic than the painter of this winning Madonna-picture. We 
must look around among Lorenzo’s immediate followers to find its master, 
but these smaller men of the Marches are as yet too little studied to make an 
affirmative attribution safe. The most marked individuality known among 
them is fra Matino Angeli. His signed and dated (1442) altarpiece at 
Monte Vidon Combatte affords apparently affinities of style to the Blakes- 
lee Madonna, particularly in the drawing of the Virgin’s mantle and of the 
boy; he might possibly have painted the Little Madonna some years earlier. 

The Florentine Quattrocento is represented by six or seven pictures, 


among which are some problems worth a more thorough discussion than we 


in this short introduction can bestow; we must limit it to the most necessary 
remarks on the anonymous masters. 2 

“The Master of the San Miniato Altar piece” is the name given by Mr. 
Berenson to a follower of Pesellino and Fra Filippo, whose principal work 
is a Madonna between four saints at San Miniato al Tedesco. Besides this 
large painting, he has done several small Madonnas of rather unequal qual- 
ity; we have seen recently two of his Madonnas in the market. And here 
in the Blakeslee Collection is the third. ‘This picture comes very close to 
the one acquired by the Minneapolis Museum (formerly belonging to Lady 
Theodora Guest). Both are to be counted among his better works, where 
a sensible echo of the Fra Filippo-Pesellino tradition still is to be felt. The 
master is a dependent man, who occasionally charms us, when nothing bet- 
ter is at hand, but who probably in his life-time had not the name of any- 
thing more than a humble artisan; still, he worked during the golden epoch 
of Florentine art. 

Much higher in quality and a little later in time stands the anonymous 
master whom we have given the temporary name: “Master of the Oriental 
Sash.” 'The name needs hardly any explanation. It has been chosen be- 
cause most of the artist’s Madonnas wear an Oriental sash, used either as 
a belt or as a bandage to support the child; it may be added, the master has 
a general predilection for embroidered and richly ornamented material. 

This is all confirmed by the picture in the Blakeslee Collection repre- 
senting the Holy Virgin, nursing the Child, attended by St. John. ‘The boy 
wears an embroidered frock and he sits on the Oriental sash which is tied 
around the mother’s neck. The group is placed under a marble arch inlaid 
with colored slabs and cut at the top. The preservation of the picture is, 
as anyone can see, not the best; it has been rubbed off a good deal. But it 
is perfectly characteristic of this anonymous master, who, as we follow him 
through his various works, appears to be one of the most charming (though 
not one of the strongest) among Florentine Quattrocentists. As his artis- 
tic personality never yet has been defined, we will use this occasion to say 
a few words about his development and his principal works. We find them 


in several museums ascribed to various masters: 


| Florence, Uffizi Gallery, Nr. 1278"'% “Scuola del Andrea del Verroc- 

» chio” Altarpiece representing the Madonna on a throne of multicolored 
marble with arched top; on the sides stand St. Zenobius and St. John the 
Baptist; kneeling in the foreground are St. Francis and St. Nicholas. In 
the very laconic catalogue of the Uffizi Gallery (English edit., 1904) this 
picture is accompanied by the following note: “It is one of the finest speci- 
mens of Florentine art and lay hidden and forgotten till 1881 in the store- 
rooms of the Royal Uffizi Gallery. Having then been discovered and exam- 
ined by the members of the royal commission of art, it was pronounced a 
painting by Verrocchio.” ‘The royal commission seems later to have arrived 
at another result, because nowadays the picture is more safely ascribed to 
the school of Verrocchio. 

Florence. Uffizi; from Sta Maria Nuova, Nr. 23: Madonna. and 
three angels. ‘This picture is officially ascribed to “Fra Filippo Lippi(?)” 
and by Mr. Berenson to “Amica di Sandro.” (“Florentine Painters,” 3d 
edit., p. 100.) 

Florence. Prof. Luigi Grassi: Madonna standing under an arch suck- 
ling the Child, who is supported by the Oriental sash, tied round the 
mother’s neck. ‘This Madonna is the exact counterpart of the one in the 
Blakeslee Collection, the only difference being that the picture is larger 
and better preserved, and that St. John is replaced by a vase of flowers. 

Englewood, N. J. Mr. D. F. Platt: Madonna holding the Child on 
a cushion while he is kicking with his feet and blessing with his hand. A 
very interesting, probably early picture, close to the Madonna in Paris and 
Munich (see below). 

London. National Gallery, Nr. 589, “School of Lippi’: The Virgin 
seated under an arch, an angel presenting the infant Christ to her. ‘The 
composition is inspired by Botticelli’s Chigi Madonna, now belonging to 
Mrs. Gardner in Boston. There is another version of the same Madonna, 
with two angels, in the museum at Naples. It is probably a somewhat later 
work by our master, though less obvious. 

Milan. Museo Poldi-Peszoli, Nr. 156, attributed in the catalogue of 


1911 to Botticelli: Madonna; child standing on her knee, an angel is present- 


ing a vase with flowers. Picture showing influence of Cosimo Rosselli, be- 
sides Verrocchio and Botticelli. 

Munich. Julius Boehler: Madonna caressing the Child, who is sup- 
ported by two angels. Closely related to Mr. Platt’s Madonna. | 

Paris. Louvre, Nr. 1845, “Ecole de Fra Filippo Lippi’: Madonna 
seated on a cushion on the ground offering a pomegranate to the boy. Ador- 
ing angels with flowers forma niche behind her. One of the master’s best 
pictures. 

Paris. M. Henri Heugel: Virgin and the little St. John adormg the 
child. The Virgin’s mantle is lined with beautiful brocade stuff; rocky land- 
scape, very attractive. Ascribed by Mr. Berenson to Botticini (“Florentine 
Painters,” 3d edit., p. 121), and in Sedelmeyer’s Catalogue, 1902, to Filip- 
pino Lippi. 

No doubt the list of this anonymous master’s works could easily be en- 
larged, but those mentioned afford enough material for a just appreciation 
of his artistic ability; the attributions quoted above may serve to throw some 
light on the general uncertainty about his derivation and his position in the 
Florentine School. . 

Kvidently, the painter is to be reckoned among Verrocchio’s pupils, al- 
though he might have begun his artistic career already with some older mas- 
ter, like Cosimo Rosselli. Verrocchio’s severe, somewhat harsh style is pre- 
dominant in the large Uffizi altarpiece. But the master’s own temperament 
seems to have brought him in closer contact with Botticelli’s art; several of 
his smaller Madonnas (for instance, Platt’s and Boehler’s) show interesting 
affiliations with Botticelli’s early works. Possibly—and this is the most nat- 
ural assumption—he was an assistant first with Verrocchio and then with 
Botticelli. Thus he came also in contact with Botticini. And, indeed, this 
is the master with whom he is most easily confounded. Their lines of evolu- 
tion run at least in the beginning paralel; they step out of Verrocchio’s work- 
shop about the same time, and they are both second-rate men often engaged 
in multiplying known compositional forms and figures. Botticini is perhaps 
the stronger draughtsman, but he is also harder and dryer than the “Master 


of the Oriental Sash.” He lacks the tone of dream and yearning which is 


characteristic of so many of the anonymous master’s Madonnas, connecting 
them with Botticelli’s blessed Virgins. | 

Anyone who will take the trouble to examine the pictures enumerated 
above will easily recognize the identityof the painter and his most pronounced 
morphological characteristics. The Madonnas have all the same type; a 
short triangular face with a broad forehead and pointed chin; the hands are 
feeble in comparison with those of Verrocchio, Botticelli or even Botticini; 
the drawing of the boneless fingers being particularly deficient. The bam- 
bino is rather clumsy, with an excessively large round head. But, in spite 
of that, his liveliness is very marked, especially when he is not entirely en- 
grossed in the appeasing of his appetite. His playfulness in connection 
with the heavy, contracted limbs give him sometimes almost likeness with a 
bear’s cub. | 

The master is a poorer landscape painter than most of his contempora- 
ries; when he occasionally gives some nature view in the background it is hard 
and schematic, he evidently prefers to fill the background with some architec- 
tural motive. ‘The incrusted marble arch reappears, as we have seen in sev- 
eral of the pictures, entirely or partly, enframing the Madonna group. 

Another painter of the Botticelli school is represented in the Blakeslee 
Collection by a Madonna-tondo of more common character. He is consider- 
ably later than the Master of the Oriental Sash and individually less 
marked, thus reflecting the Botticellian art more directly, and at a later, more 
decadent period. We learn from him more about Botticelli’s mannerisms 
and exaggerations than about his charm and expressiveness. 

The same stylistic group is completed by Jacopo de Sellajo’s Madonna 
formerly ascribed to Botticini, but marked by the characteristic mannerism 
of Sellajo at his latest period. 

Still later in date and further developed in style are two tondos, the one 
of the school of Lorenzo di Credi and the other of the school of Piero di Co- 
simo, both representing the Nativity. The first is painted by a well-known ar- 
tistic personality whose name, however, has not yet been found. Morelli used 
to call him “Tommaso,” identifying him with a certain Tommaso di Stefano, 


mentioned by Vasari among Credi’s pupils; but if Vasari is right about the 


master’s age (born 1494), this identification is hardly convincing. The style 
of this individual is, however, easily recognizable in a number of pictures in 
the Uffizi, Pitti, and Borghese Galleries and in several private collections, 
most of them representing the Holy Virgin kneeling in adoration before the 
puffy child, sometimes accompanied by an angel, as we see her in the Blakes- 
lee tondo. A drawing which probably has been used for one of “'Tomma- 
so’s” kneeling Madonnas is to be found in the National Museum in Stock- 
holm. ‘The type of the Virgin and the treatment of the mantle folds are ex- 
actly the same as in the Blakeslee picture. 

None of the very popular Sienese Quattrocento painters meet us in the 
Blakeslee Collection, but there are two characteristic specimens of Sienese 
Cinquecento art; we refer to the playing angels by Pacchiarotto and to a 
Madonna by Girolamo da Pacchia. The angels, which were honored by the 
name of Melozzo da Forli, are evidently cut out from some larger altar- 
piece like the Ascension of Christ in the Siena Academy. We find there their 
exact counterparts in the singing and playing angels, floating around the 
Saviour, who ascends the clouds in a dancing movement. ‘These joyous beings 
seem to be a humorous mixture of seraphs and satyrisques. 

A particularly fine Madonna by Domenico Puligo should be pointed out 
among Ilorentine Cinquecento pictures. It is not often that we find this 
master represented by a work of so solid and homogeneous a character. 
And, indeed, it is no less pleasure in the study of art than in life to find one’s 
expectations surpassed by reality. Another good Tuscan picture, from the 
end of the century, is Francesco Vanni’s large representation of the Madonna 
with St. Katherine of Siena. It is true that it shows a certain superficiality 
of handling and looseness of form. But the light, transparent colors endow it 
with an effervescent beauty, recalling French Rococo paintings. 

Turning from the Tuscan painters to the Central Italians, we may ob- 
serve a connecting link in a Madonna formerly ascribed to a Florentine pu- 
pul of Benozzo Gozzoli, but evidently by the Umbrian Boccati da Camerino, 
who also felt some influence from Benozzo, although his main education was 
that of a March-man. He represents the Madonna, as usual, on a throne of 


elaborate architecture, surrounded by angels who do their utmost in playing 


and singing her praise. All the morphological details, the type of the Ma- 
donna and of the angels, their claw-like fingers, their whimsical movements, 
correspond exactly to the same details in Boccati’s Madonnas in the gallery 
at Perugia (No. 9). There is a touch of fresh naiveté in the whole rep- 
resentation which might reconcile us with much of the awkwardness and 
deficiency in the drawing of the figures, and it remains, in spite of restora- 
tions, a rather winsome provincial idyll. A picture of stronger individual 
character and intrinsic drawing is the Madonna by a companion of Lorenzo 
Costa. If we dare follow Venturi, the master might be Galasso Galassi, a 
name proposed by the learned writer for two panels in Budapest, by the same 
hand as our Madonna, representing music-making angels. (Cf. “Storia dell’ 
arte Italiana,” vol. VII, part III, p. 496.) These angels are officially attrib- 
uted to Francesco Cossa and by Mr. Berenson to Marco Zoppo (7). ‘To us 
it seems evident that they are by a companion of ‘Tura, though it is hard to 
tell whether he was Galasso or not, as we know of no signed work by this 
artist. The artistic personality is marked, anyhow, and he reveals himself in 
the most favorite way in the Blakeslee Madonna, a picture of refined and 
original character in good preservation. 

The central master of the Umbrian School, Pietro Perugino, is not rep- 
resented by any work of his own, but there is a Madonna in his style prob- 
ably executed by his follower Giannicola Manni. A comparison with Man- 
ni’s large altarpiece, the Madonna between St. Francis and St. Jacob, in the 
gallery at Perugia, offers ample reason for this attribution. 

A smaller octagonal picture representing the Virgin between the Two 
St. Johns shows the Peruginesque School tradition mixed with the current 
of the Francis School at Bologna. The blending of these two different cur- 
rents took place especially in the Romagna. ‘There can be little doubt that 
the present picture was executed in that region. 

Giovanni Battista Bertucci of Faenza is the nearest designation we can 
propose for the picture; it is somewhat finer and more graceful than Bertuc- 
ci’s large altarpiece in Faenza and in Berlin. But the style is the same, and 
the artist probably handled the smaller painting with greater care. 


The Milanese pictures’are not very numerous in the Blakeslee Collec- 


tion, but among them are two or three of particular interest. The first is an 
altarwing attributed to Butinone. ‘The picture has been discussed by Her- 
bert Cook in the Burlington Magazine (1904, p. 94), who reckons it as one of | 
the few known authentic works by this rare master of Trevigho. “It dated ap- 
parently from the era of the Treviglio altarpiece, 1. e., about 1485, with which 
comparison of detail should be carefully made. In particular the metallic 
luster of St. John’s face and the curious drawing of the bony fingers are 


S) 


characteristic of our painter.” Bernardino de’ Conti's Madonna is interest- 
ing because of the predominant influence from Leonardo’s art it exhibits. 
The landscape is in a cold greenish tone, and the Virgin’s type is Leonard- 
esque. Had it not been so much rubbed, it would take a prominent place in ~ 
the school of Leonardo. 

The best picture in this group, is however, Andrea Solario’s “Madonna 
dei fiori.” ‘The unusually attractive motive of the Virgin offering some flowers 
in her outstretched hand gives a pleasant feeling of Solario’s close affiliation 
with Venetian art. It is the same motive which has become famous through 
Titian’s “Flora” in the Uffizi. Is it possible that the painters have invented 
it independently, or have they borrowed it from a common source? Seolario 
can at least not have taken it from ‘Titian, because his Madonna picture is 
nearly twenty years earlier than 'Titian’s “Flora.” It stands in closest re- 
lation to the Holy Family with Saint Jerome in the Brera, dated 1495. 

Another outsider who, like Solario came under predominating Venetian 
influence was Boccaccio Boccaccino of Cremona. We are inclined to attrib- 
ute to him a little Madonna, formerly ascribed to Giacomo Francia. ‘The 
attribution is sustained by several details such as the Virgin’s left hand, the 
draping of her mantle, the delicate treatment of the landscape, and above all 
by the characteristic boy; he is the typical Boccaccino bambino, with a large 
head and precocious expression. The Virgin’s type is a little more Venetian 
than we are used to find in Boccaccio’s pictures. 

The other North Italian pictures in the Blakeslee Collection need 
scarcely be discussed; they are noted with deserving remarks in the Cata- 
logue. The most problematic among them is the Madonna catalogued un- 


der Girolamo dai Libri’s name. The attribution is about as hard to con- 


firm as to disprove, because so much of the picture’s original character has 
been lost in the restorer’s shop. But it possesses still an undeniable charm, 
and much can be said in favor of it being an original by Girolamo dai Libri. 
Anyhow, its Veronese origin is evident. 

The Bellini School, the central hearth of Venetian painting at the end 
of the Quattrocento, can be studied in several second-hand works. Pissolo 
is represented by a nice and soft Madonna and by a still more attractive 
bust of the Saviour, both in light and hazy colors; Girolamo da Treviso by 
a characteristic signed Madonna of unusual size, and Girolamo da Santa 
Croce by a very decorative Madonna being an imitation of the Bellinesque 
composition. | 

Palma Vecchio’s Holy Family isa well-known picture from the Butler 
sale, which always -will hold its place as an effective piece of decoration. The 
same is true in still higher degree of the large portrait representing a lady 
with her dog from the Farrer Collection. It is, indeed, a picture of very 
remarkable decorative quality; the silver brocade in the lady’s dress and the 
transparent white sleeves are painted with an admirable technique. The land- 
scape view is given in pastos colors almost in a Titianesque manner, but the 
handling of the face, the hands and the neck is more timid. It is evident at 
the first glance that the portrait stands in close relation to Paolo Veronese’s 
art, and this has also found expression in the traditional attribution to Paolo’s 
son Carlotto, but the individual master is perhaps not quite so evident. We 
know nothing by Carlotto of nearly as good and solid quality as this pic- 
ture. It is also earlier in date; the treatment of the landscape, as well as the 
manner in which the face is painted, is pre-Veronesque, and the costume is 
to be seen in Titian’s portrait of his daughter, Lavinia, in Dresden, about 
1555. ‘The nearest analogies to this portrait we have been able to find are 
the two portraits in the Museum in Vienna (Nos. 395 and 297), now unani- 
mously given to Paolo Veronese’s teacher, Antonio Badile. They exhibit 
the same kind of solid, somewhat provincial translation of Titian’s art, the 
same timid handling of the flesh parts and gorgeous stuff painting as we 
have observed in the Blakeslee portrait. The attribution is also supported 


by a comparison with Badile’s large altarpiece in the museum at Verona, 


which is inspired by 'Titian’s Pesaro-Madonna and includes the same kind 
of silver brocade as we find in the lady’s dress. Badile was a poor inventor, 
with little or no imaginative gifts, but a good painter; he knew how to teach — 
Paolo the brushwork! | 

Several pictures by various Bolognese and Neapolitan painters illus- 
trate the tenebroso and academic schools of the seventeenth century; they 
should be appreciated from a historical point of view, whereas the small can- 
vases by Piazzetta, Pitton1 and Domenico 'Tiepolo may afford some esthetic 
enjoyment, revealing a touch of the last brilliant effervescence of painting 
in Italy. 


——— 


AX 


_ TUSCAN SCHOOLS 


FIRST NIGHT’S SALE 
WEDNESDAY, APRIL 21, 1915 
IN THE GRAND BALLROOM 


OF 
THE PLAZA 
FIFTH AVENUE, 58th to 59th STREET 


BEGINNING PROMPTLY AT 8.15 O’CLOCK 


NOTE: The attributions and critical notes of the Italian pictures are by 
Dr. Osvald Sirén of Stockholm, and the descriptions have been written 
by Mr. William Roberts of London. 


JY gg Height, 25 inches; width, 19 inches ~ 


No. 1: 


MASTER OF THE SAN MINIATO ALTARPIECE 


A Florentine painter of the school of Pesellino and Fra Filippo. His actual 
name is as yet unknown, but he is a distinct artistic personality, named after 
his principal achievement, the altarpiece in the right transept of San Domenico 
at San Miniato al Tedesco (Cf. Berenson, “Catalogue of the John G. John- 
son Collection,” Vol. I, p. 23). 


MADONNA AND TWO ADORING ANGELS 


(Thick Panel) iy kee. Ze) Vie 
Yu 2 erth ALn122_ 
— Height, 25 inches; width, 19 inches ] 
4, g A 


SMALL three-quarter length of the Virgin, in scarlet dress, gold mantle 
lined with blue, and brownish head-dress, seated on a marble bench; the 
Infant in white, seated on her knee, His right hand upraised, the two first 
fingers extended; an angel in red dress and golden hair on either side with 
hands clasped. : 


From the Conte Galli-Tassi Collection, Florence. 


This picture is one of the anonymous Master’s most attractive creations. 


No. 2 


ANGELO ALLORI (called BRONZINO) 
Florentine; 1502-1572. Pupil of Pontormo, imitator of Michelangelo. 


PORTRAIT OF A LADY OF QUALITY 


Po 


S, Aart A417 
SMALL half-figure of a young lady with set features, shee to. font a 


looking slightly to left; rich crimson and black dress embroidered with white 
and gold, edged with white lace at neck and wrists, plastron elaborately em- 
broidered with pearls and gems, long heavy gold neck chain, held with left 
hand, yellow gauntleted gloves in right hand, jeweled rings on both hands; 
reddish-brown head-dress with white chiffon cap. 

Transferred from panel to canvas. 


No. 3 


TUSCAN MASTER 


Latrer Part oF THE FIFTEENTH CENTURY 


PORTRAIT OF A LADY ds, 


des OR oe Height, 14 inches; width, 11 inches 


Heap and shoulders to front, looking to left, yellow low dress, cut square 
at neck and shoulders and with black lacets; golden hair, yellow and red 
patterned close fitting head-dress with blue border, and heart-shaped point 
over forehead; gold necklace of five rows; blue background. 


Inscribed on the parapet, Lavra PETRARCHR. 


Collections of P. Manfrin, Florence; and J. Edward Taylor, London, 1912, 
No. 20: 179 -%-0 AWS bei men 


This is one of the best copies done from the famous miniature portrait in 
a Codex now in the Laurentian Library in Florence, ascribed to Simone Mar- 
tini and said to represent Petrarch’s Laura. We have seen in private collec- 
tions other copies of the same miniature, but they are of less good quality. 


No. 4 


JACOB DEL SELLAJO 


Florentine; 1442-1493. Pupil of Fra Filippo; a very versatile painter, imitat- 
ing Pesellino, Cosimo Rosselli and especially Botticelli. 


VIRGIN AND CHILD 


Height, 3114 inches; width, 17 inches 


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HALF¥-LENGTH figure, standing to front, scarlet dress, blue-hooded “cloaks ~ 
golden hair, holding in right hand pomegranate on which the Infant’s right 
hand rests; he is in light bluish drapery and stands before her on a bright 
scarlet cushion which rests on ledge or parapet across the foreground; gray 
wall background, with conventional tree on either side, scarlet and gold cur- 
tains; arched top. 

Transferred from wood to canvas. In contemporary carved frame. 


No. 5 


GIACOMO PACCHIAROTTO 


Sienese, 1475-1540. Pupil of Matteo di Giovanni, influenced by Fungai and 
Francesco di Giorgio. 


ANGEL MUSICIANS 
( Pair) 


17 Ses 70 Each: Height, 18 inches; length, 17 inghes ; 
OP RS nN 
(a) Three youthful angels walking to right ad Snolage up; in red and 
greenish dresses, playing violin and cymbal, the end one praying. 
(b) Three youthful angels to left in green, yellow and white dresses; the 
first two playing instruments. 

Two small pictures, transferred from wood to canvas, fragments of a 
large altarpiece. Vivid color scheme, in good condition. In carved Renais- 


sance frames. 


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No. 6 


PARRI SPINELLI 


Florentine school; 1387-1453. Son and pupil of Spinello Aretino; influenced 
by Ghiberti and Lorenzo Monaco. A full account of Parri’s artistic develop- 
ment and his early works, which were formerly given to an anonymous mas- 
ter, “I] Maestro del Bambino Vispo,” is to be found in T'he Burlington Maga- 
zine, March and April, 1914. 


MADONNA AND CHILD 
(Panel—arched top) 


a i a Height, 34% inches; width, 18 inches 


pe ae At/, i Faw é y, { inane 


SMALL whole-length figure of the Virgin to/front seated on a cushion on 
floor covered with brilliant scarlet and gold carpet; red dress, blue gold-em- 
broidered cloak, loose white head-dress with long ends; the Infant in blue and 
scarlet, seated on his Mother’s knee, holding her head-dress in left hand, 
and sucking forefinger to right; two angels supporting a crown over the 
head of the Virgin; gold background. 


In contemporary carved gilt frame. 


Formerly in the Galli-Dunn Collection, Pogginbonsi. 
Exhibited at the Mostra dell’ Antica Arte Senese, Siena, 1904. 
Mentioned in “The Burlington Magazine,” p. 24, April, 1914. 


No. 7 


MASTER OF THE ORIENTAL SASH 


Florentine; temporary name for an artistic personality formed in Verrocchio’s 
studio and influenced by Botticelli. A closer account of this interesting mas- 
ter is to be found in the introductory notes. 


MADONNA, CHILD AND ST. JOHN 


ri SET Height, 20 inches; width, 14 inches ‘ ” } 
ULL tA ® Sirvitl, 

SMALL half-figure of the Virgin standing under an archway to right, in red 
dress and blue cloak, head inclined to left, fair hair, dark head-dress, nurs- 
ing the Infant, who is supported by a red and black “sling” suspended from 
His Mother’s shoulders; the Child in gray patterned shirt at right; infant 
St. John in red cloak and grayish dress is carrying a cross and holding a 
scroll inscribed “Ecce” (Agnus Dei); green background. 

Transferred from wood to canvas and framed in a Quattrocento taber- 
nacle. 


» | 


de 


be 
eee, 


No. 8 


MAESTRO TOMMASO ~ 


This is the name given by Morelli (“Die Gallerien Borghese und Doria-Panfili 
in Rom,” p. 115) to a follower of Lorenzo di Credi whose principal works, all 
representing the adoration of the Christ-child in tondo-form, are to be found 
in the Borghese Gallery, Rome, and in the Pitti Palace, Florence. 


THE NATIVITY 
(Panel) 


G 78 ae Height, 3314 inches; width, 88 anches | y 
: Vy bhgls Ae 

WHOLE-LENGTH figure of the Madonna in a landscape, fo left, kneeling in 
adoration before the nude Infant, who is reclining on 4 rug on thé floor; 

she is in scarlet low dress edged with white, white head-dress, blue cloak, 

fair hair; over the head of the Infant an angel is placing a floral wreath, 

and behind St. John is seen; to right St. Joseph in red and brown dress 
holding a staff; background an undulating landscape with hills. 

Tondo, in original carved frame. 


No. 9 


DOMENICO PULIGO 


Florentine; 1475(?)-1527. Pupil of Andrea del Sarto, influenced by Ridolfo 
Ghirlandajo. 


MADONNA, CHILD AND ST. JOHN 
( Panel ) 


ise Height, 32 inches; width, 25 inches 
3 — (Y re (co Zn Pw 2 4p bka e FN cerns 
YoutHrut Madonna to right, directed to left, in pink, blue v4 yellow 
draperies with brown head-dress, supporting the Infant, who is bolding a 
blue and gold striped ball handed to him by St. John, whose staff and red 
cloak are on the table. 
A large and fine specimen of this interesting pupil of del Sarto. 


No. 10 


FRANCESCO VANNI 
Sienese; 1565-1609. Pupil of Ar ERNE SSN Salimbeni, influenced by Andrea del 


Sarto and Barocci. 


VIRGIN AND CHILD AND ST. KATHERINE 


= Wee ee Canvas: Height, 384% inches; width, 28 in. dona 


Neary whole-length of the Virgin, seated to right, directed to eee scarlet 
dress with blue hood, white head-dress, brown hair; the slightly draped 
Infant seated on her lap and looking up to left; St. Katherine of Siena, 
with white nun’s veil, holding lily branch and kneeling in adoration to left, 


hands resting on book. 


The figures are probably cut out of a larger composition. An attractive 
painting, in light blue, green and white colors. 


No. 11 


ANGELO ALLORI (called BRON ZINO) 
ForENTINE: 1502—1572 


PORTRAIT OF A LADY OF THE CORNARO FAMILY 


: Height, 34 inches; width, 27 inches . 
eg — | Vale Y 
OES Ye 7 ret. 
HALrF-FiGurE, about thirty standing by a stone balcony; scarlet over-dress, ; 
white and gold patterned sleeves, white lace collar, pearl necklace and ear- 
rings; fair hair with pearl rope, bracelets of precious stones, right hand 
holding fan, left with cameo portrait of Luigi Cornaro. 
Transferred from panel to canvas. 


= 


From the J. E. Taylor Collection, London, 1912, No. 16: BYG - 1h - IY UY fis! say 


This portrait was evidently done in Bronzino’s studio, but only partly 
by the master himself. 


7s | ; 
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No. 12 
SCHOOL OF COSIMO TURA 


Ferrarese master working about 1450, influenced by Tura and Francesco 
Cossa. Two angels by the same painter in the Museum at Budapest are 
ascribed to Cossa. 


MADONNA AND CHILD 
(Canvas) 


es —0é 
© Ve ee Height, 22 inches; width, 16% oe ie Ss 
SMALL half-figure of the Virgin, directed slightly to left, looking down at 
child; scarlet dress embroidered with gold bands, blue cloak, fair hair with 
pearl rope, white gauze head-dress; the Infant to left looking up towards 
His Mother. Both figures have a peculiar gold-spotted aureole. 

In a carved Renaissance tabernacle. 


From the Charles Butler (Warrenwood) Collection. 


A charming picture of pure and refined character. 


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No. 13 


GIACOMO FRANCIA 
Bolognese, 1486-1557. Son and pupil of Francesco Francia. 


MADONNA AND CHILD WITH ST. JOHN 


ios ve Height, 234% inches; width, 18%4 inches | 
HAtr-FicureE of the Virgin to front, head inclined to left; red low dress, 
blue hooded cloak, thin white muslin head-dress; the Infant in red shirt 
seated on a blue cushion which rests on a ledge which extends across the 
center of the picture; to left St. John with cross; blue sky and undulating 
hills to right. 

Transferred from wood to canvas. Characteristic picture in good con- 
dition. 


Exhibited: New Gallery (Early Italian Art) London, 1893-4, No. 172; and 
Burlington Fine Arts Club, London, 1894, No.-28 


From the collection of Charles Builer, 1911, No. 25: 410 - 0- 7 Veber ner 


No. 14 


GIOVANNI BATTISTA BERTUCCI 


Born at Faenza; worked 1500-1516. Influenced by Perugino, Pinturicchio, 


Lorenzo Costa and Francia. 


MADONNA AND SAINTS 
(Panel) 


oo 7 SiS Octagonal, 291% ee! ) Ca 


Tut Madonna, seated to front, scarlet dress with gold edging, blue cloak, 
fair hair, brownish head-dress, her hand resting on a fruit; the Infant in 
shght gold drapery on her lap; on left St. John the Baptist, to right St. 
John the Evangelist, both in the attitude of prayer; green background. 


A graceful and well-preserved picture. 


No. 15 


DOMENICO ALFANI 


Umbrian; 1480—after 1553. Pupil of Perugino, imitator of Raphael, later in- 
fluenced by Andrea del Sarto and Rosso Fiorentino. 


HOLY FAMILY AND ST. JOHN 
(Panel) 


Height, 26 inches; width 22) inches 
la ee 
i TY Are oe 


AN interior, three-quarter figure of the Virgin seated to front, scarlet dress 
with gold insertion and sleeves, a pearl ornament at her bosom, blue cloak 
over shoulders and lap; reading a book held in right hand, and with the left 
supporting the lightly clad Infant, who is seated on her lap and is receiv- 
ing a cross from St. John; the latter to left holding scroll inscribed “Ecce 
Agnus Dei’; to right St. Joseph in slate-colored dress and brown cloak, 
left hand upraised; landscape seen through window to left. 
In carved Renaissance frame. 


No. 16 


COLA DELL’? AMA'TRICO 


School of the Marches; about 1480—after 1547; influenced by Vittoria Crivelli 
and other Marchegian painters, later by Raphael and Michelangelo. 


THE ANNUNCIATION 


(Panel—arched top) 


3 Oe Height, 30 inches; width, 19% ON 1) £ 


Tue Virgin standing in a hall, in rich red dress and long blue cloak; the 
angel in gray and red is kneeling at her feet and is holding a lily branch in 
her left hand; the First Person of the Trinity is seen above in clouds, a dove 
descending; through an open window to left is seen a hilly landscape. 

In old Renaissance frame. 


i EO At MNES, 


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No. 17 


FRA MARTINO ANGELI (?) 


School of the Marches. Fra Martino Angeli from Santa Vittoria was a fol- 
lower of Lorenzo da San Severino the elder; a signed picture by him dated 
1448 is preserved in S. Biagio at Monte Vidon Combatte. 


MADONNA AND SAINTS 
(Panel—arched top) 


5 oe as Cees Length, 30 inches; width, sey, QO () ff 
\ | ee ae AL). Ve WAXnnn4 


SMALL whole-length figure of the Madonna Renn in white brocaded 
mantle ornamented with golden crowns, with long black hooded cloak, and 
holding the Infant at her left side; she is surrounded by four saints: St. 
Katherine of Siena, St. Katherine of Alexandria, St. Francis and a Bishop; 
gold ground. ‘The picture has its original Gothic tabernacle and is as a 
whole beautifully preserved. 


No. 18 


GIANNICOLA MANNI 


Umbrian; active 1498-1544. Pupil of Perugino, influenced by Pinturicchio 
and Raphael. 


MADONNA AND CHILD 


Height, 30 inches; width, 25 inches 


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peg 8h. 


AY ae 
SMALL three-quarter figure, seated to front; deep red low dress edged with 
gold embroidery, blue cloak, brown hair; the nude Infant seated on her 
lap. His right hand raised; central background, broad strip of curtain (or 
back of chair), to left winding pathway to castellated buildings, to right 
seacoast with numerous towers. 
Transferred from wood to canvas. 


No. 19 


GIOVANNI BOCCATIS 


Umbrian; active about 1433-1470. Born at Camerino, possibly a pupil of 
Lorenzo da San Severino the elder, but developed mainly under the influence 
of Piero dei Franceschi and Benozzo Gozzoli. 


MADONNA AND ANGELS cS. d- are 


(Panel—with circular top) 
Height, 36 inches; width, 23 inches 


W HOLE-LENGTH Madonna enthroned in a niche; gold-embroidered dress and 
blue-hooded cloak; the Infant, seated on her lap and holding her cloak with 
right hand, is looking down to right at three singing angels; to left are 
three other angel musicians. 


From the Conte Galli-Tassi Collection, Florence. 


An interesting picture showing the peculiar mixture of Florentine and 
Umbrian elements which is characteristic of Boccatis. 


eR nvieoonette — 


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No. 20 


UMBRIAN SCHOOL 


Enp or FIFTEENTH CENTURY 


ADORATION OF THE MAGI 


3 7 Cae Height, 84% inches; length, 5014 inch 5 A , 
KA (6. een. 

A GRrouP of twelve figures; the Holy Family occupies the center of the 

picture in front of a cowshed. ‘The wise men, leaving their horses with 

attendants, are advancing from the left carrying presents; St. Joseph re- 

ceiving the offering of the foremost, who is prostrate before the Holy 

Family; the Virgin in blue dress holding the Infant; to right a piping shep- 

herd and a flock of sheep, an angel in the distance; conventional land- 

scape and trees to left. 

Transferred from wood to canvas. 


A predella picture. 


No. 21 


VITALE DA BOLOGNA 
(called VITALE DELLE MADONNE) 


The earliest artistic personality in Bologna, active about 1330-1360; influ- 
enced from Giotto’s school in the Romagna and from Siena. 


MADONNA AND SAINTS 
( Panel) 


S sT/ Aes Height, 34 wmches; length, 49 "be f ie 


AN altar-triptych. In the center, the Virgin in blue gold-embroidered 
hooded cloak and light white head-dress, head inclined to left, gold star on 
left shoulder; the Infant in red and gold drapery supported on His 
Mother’s right arm; scarlet and gold background. 'To left St. Peter, with 
keys and red book. ‘To right St. Regolius Papa, with long beard and 
miter, right hand upraised, left holding open volume in which is inscribed 
his name. On the three gables are represented the Annunciation, the 
Crucifixion and a kneeling Magdalen. In two niches formed by the gables 
are St. Francis receiving the stigmata and St. John the Baptist. 


This picture is an important specimen of this rare master, free from 
restorations, but cut at the bottom. 


No. 22 


GIOVANNI LO SPAGNA 


Umbrian; active 1500-1529. Pupil of Perugino and Pinturicchio, influenced 
by Raphael. 


ST. MARY MAGDALENE 
(Panel) 


Vi nee Height, 52% inches; width, 21 inches ye 

j y y _— , uy y Va 5 : . 
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WHOLE-LENGTH figure standing in a landscape, to front; dark blue dress 

with yellow sleeves and embroidered with gold, scarlet. overdress and blue 
cloak, brown hair bound with greenish net, and head-dress which falls over 

her left shoulder; right hand holding small urn-shaped vessel, red covered 
volume in left; thin gold necklace, red shoes. 


In a Venetian tabernacle frame of about 1550. 


arte . a Pipes. 2 


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ITALIAN SCHOOLS 


No. 23 


BOCCACCIO BOCCACCINO 


School of Cremona; 1467-1525(?). Studied under Alvise Vivarini in Venice; 
influenced by Foppa and other Milanese painters. 


MADONNA AND CHILD 
(Panel) 


Height, 15 inches; width, 12 anche 
ae @ 
SMALL half- figure of the Virgin, standing to f ont in a landscape and look- 
ing downwards; in scarlet robe, blue-hooded cl ‘ak over plain white head- 
dress falling over shoulders, her left hand resting on parapet on which the 
nude Infant is seated, and is Bee at spectator; background, undulating 
view with trees and river. 


A fine picture in good condition; it stands very close to Boccaccino’s 
little “Madonna” in Padua. 


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No. 24 


FRANCESCO BISSOLO 


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Venetian School; active 1492-1554. Pupil and assistant of Giovanni Bellini. 


CHRIST IN A LANDSCAPE 


G, ” y es Height, 19 inches; ee. inches / )) ie 
prt” Karvy Ae 


Busr to front, red dress, shghtly open at neck, showing white vest, green 
cloak, long curly hair flowing over shoulders, background of field, clump 
of trees and cloudy sky. 

Transferred from panel to canvas. 


Light and harmonious colors: green, red and brown. 


No. 25 


ANDREA SOLARIO 


Milanese; circa 1465—after 1515. Pupil of his brother Christofano; influ- 
enced by Antonello da Messina and Alvise Vivarini, finally by Leonardo. 


MADONNA AND CHILD 
(Panel) 


aioe tere Height, 19 inches; width, 15 yche : 
[PY (Oly (3 pee nl 


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Sma. half-figure, seated, of the Virgin in richly embroidered corsage with 
black lacets, blue cloak, fair hair, large white head-dress with long ends; 
holding in right hand cherries and other fruit; the Infant, seated on her 
lap in thin gauze covering, wearing a necklace with gold cross suspended, 
holding in right hand a single rose and in left cherries; background, narrow 
panel of red cloth on a dark green wall. 

In carved Renaissance frame. 


A very attractive although rather late specimen of Andrea Solario’s 
solid art. 


No. 26 


BARTOLOMMEO VENETO. 


Venetian School; active 1500-1530. Pupil of the Bellinis, influenced by Berga- 
mesque and Milanese painters. 


PORTRAIT OF A LADY 


ae Wie cee Height, 21 inches; eee me 6 v7 é e yj Y 
| ee ove OA BE ae 
HALF-FIGURE of a lady in green dress embroidered with gold, white chemi- 
sette, standing in front of a balcony on which is an open music-book, play- 
ing a lute; long wavy hair falling over shoulders. 
Transferred from wood to canvas. 


This is a replica or old copy of a picture by Bartolommeo Veneto; other 
versions are in the Ambrosiana Gallery in Milan, and in the collection of Mrs. 


Scott-Fitz in Boston. 


No. 27 


BERNARDINO DE’ CONTI 


Milanese; 1450—after 1522. Pupil of Zenale, influenced by Leonardo and 
Boltraffio. : 


MADONNA AND CHILD 
(Panel) 


" om = Height, 23 inches; width, 17%4 inches . . 

en 8) Via alin l. 
SMALL half-figure of the Virgin in a rocky landscape; to front, red dress, 
blue gold-lined cloak fastened at neck with cabochon ruby, long wavy fair 
hair falling over shoulders; the Infant seated on her lap in blue and gold- 
edged dress; rocks to left, castellated buildings to right. Green tone. 


No. 28 


GIROLAMO DA SANTA CROCE 


Bergamesque Venetian; about 1480-1556. Follower of Cima, Mansneti and 
Bellini. 


MADONNA AND CHILD 


L/ crn Canvas: Height, o7Y/, unches; LA it ones 
oa gc ‘a, g Ye (Gl | ry Cee Eee 
THREE-QUARTER figure of the Virgin, seated in a landscape, directed to/left; 
blue dress, white neckerchief and head-dress, scarlet-hooded cloak, with’ nar- 
row border of gold; nude Infant on her lap; trees to right, background, 
houses and stretch of blue-peaked hills. 

Transferred from panel to canvas. 


From the sale of the Chigi Gallery, Siena, 1857; and the Collection of 
Charles Butler (Warrenwood), No. 47 in the sale catalogue, where it is 
ascribed to Filippo Lippi: 73/—-S-0 Fifhnwur 


No. 29 


GIROLAMO MAZZOLA (BEDOLI) 


School of Parma; 1500-1569. Developed under the influence of Correggio and 
Parmigianino. 


MARRIAGE OF ST. KATHERINE dt d. £ the 
; A 


oor ds Canvas: Height, 22 inches; length, 27 inches 


AN interior with five figures. To left the Virgin seated, in red and 

white drapery and flowing blue cloak; the Infant in light drapery on her lap, 

looking up towards her and placing the ring on the finger of St. Katherine, 

who is on the right in brown and red dress, her left hand on a large wheel; 

through a doorway in the center two elders are seen; blue curtain to right. 
Transferred from panel to canvas. 


A characteristic specimen of the post-Correggiesque Parma School. 


No. 30 
FRANCESCO BISSOLO 


VIRGIN AND CHILD 


7S oe Canvas: Height, 27 inches; wedth, Seen a / 
feo SA CAS im NAO 


Tue Virgin, seated to front in a landscape, red dress, blue dloak, white long 
head-dress, hands folded as in prayer; the Infant slightly coveved asleep across 
His Mother’s lap, head resting on His right hand; to left a bird perched on 
a twig, church and hill in distance, to right building and figures. 


Although overcleaned the picture has still a soft charm. 


No. 31 


PALMA VECCHIO 


Venetian School; 1480-1528. Pupil of Giovanni Bellini; influenced by Gior- 
gione and Lotto. 


HOLY FAMILY AND ST. KATHERINE 
( Panel) 


3 49 = Height, 26 inches; PANT co. g | Lhge 


Hatr-ricure of the Virgin, seated in the center under a green curtain 
canopy; red dress with white loose head-dress and blue cloak, holding the 
Infant in slight gold drapery; to left, St. Joseph in blue and yellow cloak; 
to right, St. Katherine in scarlet dress and green cloak, holding pen in right 


hand. 


From the Munro of Novar Sale, 1878, No. 70; and Charles Butler Collection, 
1911, No. 100: 274- 9-f You wy, 


Described by Dr. Waagen, “Art Treasures of Great Britain,” II, 134. 


alt. No. 32 


BERNARDINO BUTTINON E 


Milanese School; circa 1436—after 1507; developed under the influence of 
Vincenzo Foppa, working together with Bernardo Zenale. 


ST. JOHN AND ST. LAWRENCE 
( Panel) 


1s Height, 4714 inches; width, 19 inches A, 

7 v7 g ¢ Wehr yl Ler Mean 
Two whole-length figures, standing, St. John the Evangelist, in green /) 
‘dress and scarlet cloak, holding gold chalice in right hand and _ inscribed 
open book in left; St. Lawrence to left in white and brown robes elaborately 
embroidered with scroll designs and enriched with precious stones; holding 
in right hand a palm branch, and in left a gridiron; on floor in foreground 
two volumes on which is perched an eagle. 


From Dowdeswell and Dowdeswell. Reproduced in “The Burlington Maga- 
zme,’ 1904, Vol. IV, facing p. 938; mentioned in the “Allgemeines 
Leaicon der bildenden Kiinstler,” Vol. V, p. 30. 


A wing of a large altarpiece. 


No. 33 


ANTONIO BADILE 


School of Verona; 1517-1560. Pupil of Carotto; influenced by 'Torbido, 


Brusasoreci and Paolo Veronese. 


PORTRAIT OF A LADY 


if a I aiger: Canvas: Height, 48 inches; width, A014 Wnches 
d OL”? VS wr Caer 


THREE-QUARTER length of stout middle-aged lady, standing slightly to/left, 
nearly full face; black low dress almost entirely covered with silver embroid- 
ery, the corsage with white and gold horizontal stripes, white sleevés with 
small gold spots, white chiffon over shoulders; pearl necklace and earrings, 
golden hair dressed flat and with pearl ornaments; gold bracelets, right hand 
resting on pet dog which is standing on red covered table, left hand on hip; 
distant landscape through portico to left, gray background. 


Exhibited: Burlington House, London, 1884, No. 157 (Frederick W. Farrer), 
when tt was “attributed to Paolo Veronese.” 


A beautiful and important picture of the leading master of the Verona 
school about the middle of the sixteenth century. It shows close affinity of 
style with Badile’s two portraits in Vienna. 


No. 34 


ERSDI DI BONIFAZIO 


Pupils and assistants of Bonifazio di Pitati (1467-1553), carrying on his 
workshop even after his death. 


THE RESURRECTION OF LAZARUS 


ae. Canvas: Height, 52 inches; length, 36 inches 

ee eS Saad 
Group of nine figures, some of whichare only partly visible. Azarus being 
raised from the sepulchre, woman in bright yellow costume, knéeling. 


Portion cut out of a larger composition. 


No. 35 


BATTISTA ZELOTTI 
School of Verona; about 1532-1592. Pupil of Badile; influenced by Paolo 


Veronese. 
HISTORICAL SCENE 


| rll Canvas: Height, 75 inches; length, 95 inches- > ? 
UL S7 , Coe ee 
A vicrorious military commander surrounded by five allegorical female 
figures in classical costumes. ‘The central figure, a middle-aged man with 
short beard, in armor, with pink cloak around neck and on left leg, a baton 
held by both hands; the figure on the left holding jar of golden coins; the 
others are apparently presenting a carved wood scroll-shaped tablet with 
inset of a miniature of a young woman; a laurel wreath is on the ground; 
pillar and wall background. 


A large decorative composition by this clever imitator of Paolo Veronese. 


No. 36 


GIROLAMO DA TREVISO 


Venetian School; 1497-1544. Son and pupil of Pier-Maria Pennacchi; influ- 
enced by Giovanni Bellini. 


MADONNA AND CHILD 
(Panel) 


go d ote Height, 58 mches; width, d "o (> ae 
WuHotr-LeNctH of the Madonna, enthroned in a niche, to front; brown 
dress, richly embroidered with conventional design in red, white head-dress, 
blue and green cloak; nearly nude Infant seated on His Mother’s lap, hold- 
ing a fig in- left hand, right hand upraised. 

In Venetian tabernacle of the time. 


Signed on a table at foot of picture: Htmronymus Tarviso P. 


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No. 37 


GIOVANNI BATTISTA PIAZZETTPA 
Venetian School; 1682-1745. Pupil of Molinari. 


LAUGHING GIRL 


W- 


Bust of a laughing girl in Dutch-like costume; greenish tone. 


/ = ae Canvas: Height, 20 inches; width, 17 dy, 


No. 38 


GIOVANNI DOMENICO TIEPOLO 


Venetian school; 1726—after 1770. Son and pupil of Giov. Batt. Tiepolo. 


PORTRAIT OF AN OLD MAN 


ab 5 ei Canvas: Height, 22 mches; width, 16 inches 


) 


Heap and shoulders of an elderly man (probably a J ewish dignitary) in 
Oriental costume, brown-lined fur coat with high collar, reddish turban- 
like cap, red belt with cameos around chest; right hand holding belt. 


Eahibited at the “Mostra del Ritratto Italiano,” Florence, 1911, No. 101. 


(Prof. Emilio Constantini. ) 


No. 39 


GIULIO CESARE PROCACCINI 


Bolognese School; 1548-1625. Son and pupil of Ercole Procaccini; influ- 
enced by Correggio. 


“SIBILLA PERSICA” 


Canvas: Height, 28 inches; width, 23-tmehes 
ie se : C7 (ee oy 


Heap and shoulders, life size, to front, head inclined to right; bluish low 
dress, long brown hair falling over her shoulders, blue and white head-dress; 
in left hand open volume inscribed on the edge “‘Sibilla Persica,” in right hand 


a pen which is being guided by an attendant angel leaning on her right 
shoulder. 


No. 40 


LUCA CAMBIASO 


School of Genoa; 1527-1585. Son and pupil of Giovanni Cambiaso; influ- 
enced by Spanish art. | 


MADONNA AND ST, JOHN 


(Panel) 


Or liee 


im c= Height, 291% inches; length, 234% inches 


SMALL three-quarter length of the Virgin, seated to right, directed to left; 
dull red dress with yellow sleeves, blue cloak on lap, holding the Infant; St. 
John to right, ruins to left. 


No. 41 


GIOVANNI BATTISTA PITTONI 


Venetian school; 1687-1767. Pupil of Francesco Pittoni; strongly influenced 
by G. B. Tiepolo. 


THE HOLY FAMILY APPEARING TO ST. ANTHONY 


Canvas: Height, 31 inches; width, 21 inches 

Wig 
GrovP of eight figures. St. Anthony o ua kneeling And holding staff, 
near a balcony; the Virgin, St. Josephwhd four youthful angels appearing 
in the clouds; the St. Esprit in the form of a dove to right. 


~ 
ty Sa) pt kere G6 
ma ~~ — 


A clever imitation of Tiepolo but technically inferior. 


No. 42 


MICHELE MARIESCHI 
Venetian School, about 1700-1743. Pupil of and imitator of Canaletto. 


VIEW OF THE GRAND CANAL 


Canvas: Height, 27 inches; length, 46 inches, 


sgt as 
‘i : V| Wa Le DIP LS 


A BROAD view of the Grand Canal, Venice, with numerous boats and the 


Rialto. 


A very ‘fine work of this clever Canaletto pupil. 


No. 43 


LUCA GIORDANO (called FA-PRESTO) 
Neapolitan School; 1632-1705. Pupil of Ribera; influenced by Pietro da 


Cortona. 


THE HOLY FAMILY 


¥ Canvas: Height, 374% inches; lengths, 40 wnches 
me ee lc 
To left three-quarter figure of the Madonna in red, blue and white 
draperies, her hands pressed to her bosom, gazing towards the lightly clad 
Infant on the right; His left arm encircling a wood cross; in the center St. 
Joseph in brown dress, holding staff. 


AAA 


No. 44 


FRANCESCO SOLIMEN A 
Neapolitan School; 1657-1747. Influenced by Luca Giordano and the Car- 


raccl. 


MARY AT THE TOMB OF CHRIST 


sage Canvas: Height, 80 inches; ~, Ceo. 


GroupP of five figures. The dead Christ extends across the picture, on 
white and scarlet draperies; three women kneeling around the body and 
weeping, one pressing His left hand to her lips; to right a child-angel is 
pointing to the recumbent figure; on the ground to left, gold salver with 
emblems of the Crucifixion. 


Q . 


Xe No. 45 


CANALETTO (ANTONIO CAN ALE) 
Iratian: 1697—1768 


CANALETTO’S CONCEPTION OF A GRAND OPERA HOUSE 


IN VENICE 
Canvas: Height, 38 inches; length, 50 inches oN 
: nee ) ) / a | WA 
2. Ss & A ‘ Aan Vite LAA 
A view of the Canal with the Rialto Bridge, the artist’s conception of a grand 


opera house on the right: a massive two-story building with balconies and a 
dormer roof; at the main entrance a crowd of brilliantly clad people are gath- 
ered under and around a temporary canopy, apparently indicative of the 
opening ceremony; the canal is alive with gondolas and other boats; blue sky 
with fleecy clouds. 


No. 46 
TITIAN (Aseribed to) 
SUSANNAH AND THE ELDERS 


a Canvas: Height, 51 inches; length, 70 inches 

1 lod LA 
AN open landscape, with a nude Venus directed to right, reclining on red 
drapery, occupying nearly whole of the foreground, and looking at the re- 
flection of her face in a small mirror which is held up by a dark-bearded 
elderly man in rich Oriental costume, and who is looking at her with a smil- 
ing expression; behind her a man in red dress and cap with gold-embroid- 
ered cloak is unfastening the band which had been placed over her eyes, 
her golden hair is plaited and a jeweled bracelet is on her right wrist; in 
the middle distance figures and sheep. 


Exhibited: Art Treasures, Manchester, 1857, No. 254; and Old Masters, 
Burlington House, 1871, No. 365. 


From the Earl of Dudley’s Collection, June 11, 1900, No. 31. 


No. 47 


TIBERIO TINELLI (2) 


Venetian School; 1586-1688. Pupil of Contarini and Leandro Bassano, imitat- 
ing Van Dyck and the Spaniards. 


PORTRAIT SAID TO BE FRANCESCO DE ALTAMIRA 


Bester ont Canvas: Height, 84 inches; width, 5144 inches 
LeY 


b gheetne 
WHOLE-LENGTH, life size, early middle-aged, to front, black dress embroid- 
ered with gold, large white collar extending over shoulder, white cuffs; 
dark long hair, mustache and chin tuft; left hand holding hilt of sword, 
right hand holding black felt hat; coat-of-arms in top left-hand corner, 

red curtain to right. 


From the Marcelle von Nemes Collection, in the catalogue of which it is 
attributed to Carreno de Miranda. 


vee Soe eee ee | 


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JUTCH, FRENCH AND 


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INTRODUCTION 


THE pictures by artists of the Spanish, Dutch, French and Flemish schools, 
described in the following pages, constitute a very varied and interesting 
feature of the Blakeslee Collection. They have been gathered in many 
lands, but chiefly in England and France, and, with a few inevitable elimina- 
tions, would form an excellent nucleus for a private or public gallery. The 
average quality is high, and many have already figured in well-known col- 
lections, notably that of the late Charles Butler, a man of wide artistic sym- 
pathies and sound judgment. A good many have only their artistic quality 
and historical associations to recommend them, for they have passed from 
their previous owners by private contract into Mr. Blakeslee’s stock, either 
direct or through one of his many sources of acquisition, and nothing can be 
said as to their provenance. 

This section of Mr. Blakeslee’s pictures is dominated by the great gal- 
lery work by Rubens, “The Adoration of the Magi,” which came to light in 
recent years after all trace of it had been lost to students for over half a cen- 
tury. ‘This noble picture, with its Oriental magnificence, its brilliant color- 
ing and its wealth of carefully thought-out detail, is the most important 
work of its kind by the master in the new world; and all students will re-echo 
the wish that it may find a permanent home in a public gallery, or church, 
where it will remain for all time, a lasting memorial to one of the world’s 
greatest painters. The history of the picture is singularly clear from the 
time it was painted for the Church of St. Martin, Berg-Saint-Vinox (or 
Bergues, as it is now called), some five miles from Dunkirk. The church 
was rebuilt in the seventeenth century, and still contains a number of inter- 
esting paintings; doubtless it was its “noteworthy high-altar’” which this 
picture adorned until it was sold in 1766. The history of the picture 
is fully told in the “Report” of the late Mr. Max Rooses (reprinted 
in this catalogue), who made Rubens a life-study, and whose great book 
on the subject of the master and his works will remain for generations the 


standard authority. But if the picture had no history, its transcendent 
scheme, its wealth of imagination, its brilliant colormg and the care with 
which every detail is worked up into a harmonious whole would stamp it as 
the work of the master mind of Rubens. There are many interesting pic- 
tures of the Dutch and Flemish Schools, chiefly by the minor artists—‘the 
Little Masters” as they are sometimes called—men who just failed to attain 
the first rank. Special mention here can only be made of a few of the pic- 
tures, and two of the earliest in the alphabetical arrangement include the 
signed group by F’. Bol, which was once in the collection of a well-known 
London amateur; and a portrait of excellent quality by Jacob Gerritsz 
Cuyp, of a child, which recalls the group of three children by the same 
artist at Rotterdam, and also a child-picture in the J. Pierpont Morgan 
Collection which has so far baffled experts in their efforts to suggest the 
name of a likely painter. The history of the Van Dyck portrait of a lady 
of the Coningsby family cannot be traced further back than thirty years, 
its first recorded owner being Sir George D. Clerk, a member of an old 
and distinguished Scotch family; the portrait is of fine decorative quality. 
To the few examples of Johannes van Kessel in the United States the 
beautiful little landscape in this collection is a notable addition in which we 
can distinguish the influence of Jakob van Ruysdael. 

There are characteristic examples of Judith Leyster and N. Maes; by 
the latter there is a signed and dated portrait of a lady who does not seem 
to have got much joy out of her life—not an uncommon feature of Dutch 
seventeenth century portraits. The Metsu “Visit to the Nursery” is one of 
the many versions which the artist and his pupils must have been called 
upon to supply: the most beautiful example of all is the Rodolphe Kann 
picture, dated 1661, now in Mr. Pierpont Morgan’s Collection and on loan 
at the Metropolitan Museum. It is curious that the present version should 
have the much earlier date of 1641. The more interesting of the two by 
Miereveld is the portrait of Marguerite van Bromkort, with her coat-of- 
arms (or more probably that of her husband) and the date 1623; and close 
to this is a capital portrait of Miereveld’s pupil, Paulus Moreelse, of a 


famous patroness of the Elizabethan poets, Lucy Countess of Bedford. 


, 
ee 


There are many portraits of this lady, but this is later than any of the others, 
and represents her as apparently much older than she would have been in 
1613. ‘This portrait has long passed as representing the “Sister of Sir 
Philip Sidney and wife of Sir James Harington,” but the two statements 
are contradictory, and neither can apply to this picture. By the younger 
Francis Pourbus we have a portrait of the Queen of Louis XIII, painted 
soon after she had taken up her residence in France. Another of the por- 
_trait painters whose work is uncommon in the auction room, Joachim von 
‘Sandrart, is represented by a signed and dated example. A considerable 
amount of investigation has been devoted to fixing the exact identities of the 
Lord and Lady Burghley who appear under Zuccaro, but even so without 
conclusive success. The biographies given in the catalogue must be regarded 
as tentative. Judging from the dresses and other features, they are prob- 
ably portraits of the famous Lord Burghley’s grandson and his wife, in 
which case “Lady Burghley” would not be a correct title, for the husband did 
not become Lord Burghley until his father was advanced to the Karldom 
of Exeter in May 1605—or fourteen years after his wife’s death. At the 
date of the portrait, 1588, there was only one Lady Burghley, the wife of 
the famous Lord High ‘Treasurer, and she died aged sixty-three in 1589. 
This kind of confusion has often occurred in connection with family por- 
traits of which the identities have been left for posterity to establish. 

If the pictures by artists of the Spanish and French Schools do not in- 
clude any great masterpiece, there are nevertheless many excellent in qual- 
ity and of good provenance. 'The most important of the Spanish pictures 
is undoubtedly the Velasquez portrait of Mariana of Austria, a replica 
of the famous work at the Prado, Madrid. The French pictures are 
nearly all by artists of the eighteenth century, and, for the most part, of 
people who played a prominent part in the annals of France. The two great 
rival women portrait painters, Madame Labille Guiard and Madame Vigée 
Le Brun, are adequately represented; the former by one of the Princesse 
de Lamballe, a prime favorite of Marie Antoinette and one of the earliest 
victims of the French Revolution; and Madame Le Brun by the Comtesse 


de Verdun and a highly attractive portrait of Madame Vestris. The exact 


identity of the last named has not been made out. The Vestris family was 
a somewhat numerous one both in England and France, the most famous of 
the English branch being a granddaughter of Bartolozzi the engraver and 
successively the wife of Auguste Vestris the dancer and Charles James 
Mathews the actor. ‘This lady, who was born in 1797 and who lived till 1856, 
was only seven years old in 1804, when this portrait was painted, so it can- 
not represent her. It probably represents her first husband’s mother. Five 
portraits and subject pictures are by N. de Largilliére, and the most im-. 
portant of these is the brilliant picture of a lady of the Court of Louis XIV. 

Among the French pictures catalogued under Carle van Loo will be 
found a companion pair which appear in Mr. Blakeslee’s stock as of the 
King and Queen of Austria. These titles, as students of European history 
will hardly need to be told, are manifestly inaccurate. It is not known 
whence the late owner obtained the pictures, presumably by private pur- 
chase and not at public sale. Nothing therefore is known of their provenance. 
They are obviously state portraits and probably represent Francis Duke of 
Lorraine (1708-1765), who was elected Emperor of Germany in 1745, and 
his wife Maria Theresa (1717-1780), daughter of Charles VI, and who was 
(queen of Hungary. Both portraits, which would therefore be correctly de- 
scribed as of the Emperor and Empress of Germany, are ascribed to Carle 
van Loo, who is not known to have painted these two historical personages. 
Their state painter was Martin van Mytens (1695-1770), who was of 
Dutch origin, but who lived for many years in Vienna, where he died. His 
portraits of the Emperor and Empress, painted circa 1742, have been fre- 
quently reproduced; there are two of the former and one of the latter in 
the Szepmuvészeti Muzeum at Budapest. It is permissible to suggest that 
our two portraits may have been copied by order of Marie Antoinette, their 
daughter, for some dignitary of the French Court. 

By Van Loo also we have a portrait of the Comtesse de Beaufort en 
Sultane: this lady was probably the “dame de qualité de Franche-Comté” 
referred to by Voltaire in his letter to the Due de Richelieu of July 20, 


1771, and whose husband, “un des plus honnétes gentilshommes de la pro- 


vince,” was accused of having killed “un coquin de prétre.” By Rigaud 
there is a fine portrait of the Duc d’Antin, and another of the artist’s wife. 
Two other famous French artists are represented: Louis 'Tocqué by a lady 
playing a guitar, and J. F’. de Troy by one of a lady whose name is not 
known. Later in date, but overlapping the active period of each of the two 
last named, Antoine Vestier is represented by an pe good portrait 
of the Comtesse de la Garde. 


W. ROBERTS. 


LONDON. 


a3) 


No. 48 


B. EK. MURILLO 
SpanisH: 1617—1682 


THE LITTLE SHEPHERD 


\ on Oe Canvas: Height, 22 inches; ele Dies inches & Miccx 
of C / 


SMALL whole-length figure of a little Re re pee oa seated in 
a rocky landscape; plum-colored dress and blue cloak, holding in left hand 
a shepherd’s crook; in distance to left two angels are seen guarding a flock 


of sheep. 


No. 49 


CLAUDIO COELLO 
SpanisH: 1621—1693 


PORTRAIT OF A LADY 


maar eae Canvas: Height, 24 inches; width, 19 inches , 
KF F-oarn2tin- 
Heap and shoulders of a young Spanish lady, to front looking at spectator ; 
dark mantle elaborately embroidered with gold, cream-colored sleeves only 
slightly seen, elaborate white ruff delicately edged with pink; pearl necklace 
and earrings; dark hair with thin row of curls over forehead, aigrette of 
jewels and pearls over right ear, small jeweled ornament over left ear; 


dark background. 
M290 ; I5-74-0 b. BH ; 


Collections: Arthur Seymour, 18967 and Charles Butler, May 26, 1911, 


No. 165: 179- 1-0 Vehheiwmn 


No. 50 


DIEGO RODRIGUEZ DE SILVA Y VELASQUEZ 
SpANisH: 1599—1660 


QUEEN MARIANA OF SPAIN — 


— + Canvas: Height, 27 inches; width, 20 inches 


hier G, Dell 
Daughter of Ferdinand III, Emperor of Austria; born in 1684; betrothed to 
Don Balthasar Carlos (eldest son of Philip IV), but he died suddenly in 1646, 
and she married in 1649 his father Philip IV, as his second wife; died in 1696. 


To front, black dress with broad silver stripes; face rouged, red hair arranged 
in ringlets which fall over one another regularly, each tied at the end with a 
red ribbon, the whole forming a broad mass; a long white feather (spotted | 


with red) falls over the hair on her left; scalloped white collar, rich gold 
chain with pendant. 


Collections: M. Cordova, a painter at Madrid; King Louis Philippe, May 7, 
1853, No. 150; and Duc d@’Aumale. Curtis, “Velazquez,” No. 248b. 


A replica of the head and shoulders of the well-known portrait at the 
Prado, Madrid, painted 1658-60 and described by Curtis, No. 2386. 


No. 51 


FEDERIGO ZUCCARO 
Roman: 1548—1609 


EDWARD VI (Said to be) 
(Panel) 


Height, 29 inches; width, 21 inches 

5ST 655 git, ’ ’ 

HA.r-Fricure of a thin, sharp-faced effeminate youth, standing to front and 
looking at spectator; black-patterned white dress with reddish waistband 
which apparently serves as swordholder; black neck-chain from which de- 
pends a jewel with pearls, broad turned-down lace collar; fair hair, white 
hat with pink lining, plume of feathers and pearl ornament; right hand 
holding white gloves, left hand on hip. 


No. 52 


FRANCISCO JOSE DE GOYA Y LUCIENTES 


SpanisH: 1746—1828 
KING CHARLES III OF SPAIN (1716-1788) 


Ye (mea et Canvas: Height, 29 inches; width, 24 inches 


Heap and shoulders of elderly man, directed slightly to “he eee 


left, in uniform of blue with gold facings, white waistcoat and neckerchief, 
red sash passing over right shoulder and star of an Order partly seen on 
breast; powdered wig; wart on left side of mouth; gold-headed staff in right 


hand. 


No. 53 


CLAUDIO COELLO 
SPANISH: 1621—1693 


AN AUSTRIAN PRINCESS 


ste Canvas: Height, 32 inches; width, 264 inches _ 
~ag “— aw f Wee 


LANA K~e AA \ tae 


Haxr-vicure of stout middle-aged lady, to front; black dress with white 
sleeves, gray collar with broad edging of lace extending over shoulders, large 
red and black rosettes on corsage and left shoulder; pearl necklace and 
pendant; earrings of jet set in gold; dark matted hair with black head- 
dress, scarlet band, black feathers and precious stones; brownish back- 


ground. 


y, No. 54 


FEDERIGO ZUCCARO 
~ Roman: 1543—1609 


LORD BURGHLEY 
( Panel) 


f (2 —- Height, 43 inches; width, 33 inches 


OQ then 


William Cecil Lord Burghley, son of first Earl of OL by his first wife; 
born in 1566; succeeded his father as second Earl in February, 1622-8; died 
July 6, 1640; buried in Westminster Abbey. 


‘THREE-QUARTER figure of middle-aged man, standing, directed slightly to 
left, looking at spectator; green dress embroidered with gold, white lace 
cuff and white broad collar, green cloak over left shoulder; golden hair, 
narrow pointed beard; right hand resting on table, left on hilt of sword. 


Formerly attributed to Sir Antonio Moro. 


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No. 55 


FEDERIGO ZUCCARO 


Roman: 1548—1609 
LADY BURGHLEY (?) 
(Panel) 
a Die CE (aa Height, 35 inches; width, 28 y ay y : 
y CH. oF Fa Si ey a 


</ ii - —F 
Elizabeth, Baroness de Roos, daughter and heiress of Edward (Manners), 
Third Earl of Rutland; married, as his first wife, Wiliam Cecil, afterwards 
Lord Burghley; died in May, 1591; buried in Westminster Abbey. 


HAr-riegurE to front of thin-faced lady; white skirt with black-patterned 
over-dress with puffed sleeves and gold bead-like ornaments, wedge-shaped 
corsage, white stiff lace-trimmed collar, black bead-like pearls at neck; pen- 
dant with pearl and precious stones and inset with cameo of woman and 
child fastened on left shoulder with red ribbon; long gold chain of many 
rows, gold bracelets, black and white reflexed cuffs; right hand holding pink 
flower, gloves in left; red hair massed over ears and with black head-dress 
at back, pearl earrings. 


Inscribed in gold letters at top right hand corner: AXVrvatis sum 22 AN? 1588. 


This and the preceding portrait are referred to in Mr. Roberts’s Introduction. 


No. 56 


JUAN B. DEL MAZO MARTINEZ 
SpanisH: 1610—1687 


PORTRAIT OF A YOUNG LADY 


os Canvas: Height, 49 inches; length, 361 inches ; 
CRRORYS Cant 5 3 OG oe 


THREE-QUARTER length, about twenty, standing, directed to left) looking at 
spectator; black dress almost entirely covered with silver embroWery, white 
lace collar with blue ribbon, pearl and jewel necklace; black hair falling 
over ears, with pearl ornament; right hand holding bunch of red roses, left 
hanging down by side, rig on penultimate finger of each hand; dark gold- 
edged curtain to right. 


No. 57 


JUAN PANTOJA DE LA CRUZ 
SpanisH: 1551—1609 


THE INFANTA ISABELLA EUGENIA CLARA, GOVERNESS 
OF THE NETHERLANDS 


| Canvas: Height, 75 inches; width, 41% inches 
pee | : | 
() atten Age 


MANA. | 
Daughter of Philip II of Spain; born in 1566; married the Archduke Albert ; 
Governess of the Netherlands from 1598; a patron of Rubens; entered | the 
monastic order of St. Clara; died in 1683. 


Wuo te length, about thirty, standing to front; long black cloak richly lined 
with red, creamy white circular lace collar and cuffs; golden hair dressed 
fiat in compressed plaits, white feather at back; right hand resting on red- 
covered table, a six-row gold and red bead bracelet on wrist; left hand rest- 
ing in a gray lace scarf sling and holding white gloves with red borders; 
green curtain background. 


*/) 
Collections: The Duke of Marlborough at Blenheim, until 1886; and Charles 
Butler, May 26, 1911, No. 167: 6% - 15-0 Tolbei wer, 


Sir George Scharf, “Catalogue Raisonné” of the Blenheim pictures, 1862, 
pe. 


168 ¢ Fhe fis fare Min jlo od phe befid 


neals zed 400 / ise Pree ee | 
ot bribes ‘ tL, fr 13.) 


No. 58 


JUAN B. DEL MAZO MARTINEZ 
SPANISH: 1610—1687 


PORTRAIT OF A SPANISH PRINCESS 


Canvas: Height, 55 mches; width, 42 inches 


oe mG tla 


THREE-QUARTER length, age about agente Pye front, black dress with green- 
ish under sleeves elaborately embroidered with gold, oversleeves and shoulder 
studded with pearl-like ornaments; pearl necklace and bracelets, long neck- 
chain of precious stones with ruby and emerald brooch at side, center of 
corsage with pointed rosette of precious stones; black hair in plaits, with 
band of pink ribbon and pearl ornament; right hand holding fan, left on 
red-covered chair, red curtain to left and right. 


--? 
SN a ar 
PO wey 


No. 59 


ALONSO SANCHEZ COELLO 
Spaniso: 1515—1590 


ANNE OF AUSTRIA, WIFE OF PHILIP II OF SPAIN 


70 y ne Canvas: Height, 7845 inches; width, 42% inches 


Pinter QO PLB 


Daughter of the Emperor Maximilian of Austria; born in 1549; married at 
Segovia in 1570, as his fourth wife, her uncle Philip II of Spain; died in Oc- 
tober, 1580. 


WHOLE length, when young, standing, directed to front; white dress richly 
patterned and embroidered with row of six curious bifurcated designs (ap- 
parently fasteners), the narrow wedge-shaped corsage richly ornamented 
with precious stones, pendant at bosom; long two-row pear! necklace, white 
lace cuffs and starched ruffle, pearl earring, fair hair with small brown cap 
and white rosette; right arm leaning on red chair holding partly opened 
volume in hand, left holding lace handkerchief. 


Exhibited: Guildhall, London (Spanish art), 1901, No. 57. 


Collections: Prince Esterhazy; and Arthur Sanderson, June, 1911. 


[CH SC HOOL 


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No. 60 


JACOB WILLEMSZOON DELFF 
Dutcu: 1619—1661 


MARIA JACOB VAN DE WOOT 
(Panel) 


Height, 19 inches; width, 4 8 
CUO rrr ger 


Heap and shoulders of elderly thin-lipped woman, to front looking af spec- 
tator; black-patterned dress, large starched circular ruff; dark hair with 
close fitting slight black head dress. 


P75 


A portion of the artist’s initials “W. D.” interlaced is seen on the left 
hand side. ‘The name of the personage is inscribed on the back of the panel 
but is now difficult to decipher. 


No. 61 


WILLEM WISSING 
Dutcu: 1656—1687 


PORTRAIT OF ENGLISH NOBLEMAN 
ae 


SMALL bust of a young man, directed slightly to left, looking at spectator, 
in armor with white linen collar, long golden hair falling on shoulders. 


(Panel) 


V 


Height, 121% inches; Bea inches 


- 


Collection: Henry Doetsch, June, 1895, No. 200: G-6-0 h. Sate 


No. 62 


JAN VERSPRON CK 
Dutcu: 1597—1662 


THE TOPER 
Ad ea Canvas: Height, 28 inches; idth, 23 inches 


(Sirsls Soa, 
Ha.r-ricure, facing right, of elderly man smiling /and leaning Jack in his 
chair; brown dress, black cloak over left shoulder, white cuff and white broad 
flat collar, large black felt hat, slight mustache and chin tuft, holding in 
right hand goblet nearly full of liquor; medallion in sash; green back- 
ground. 


The initials, “F. H.,” entwined on left, form the signature of Frans Hals, 
to whom the picture was formerly attributed. It-appears to be a variant of 
“The Toper” (a much smaller picture), described in C. Hofstede de Groot’s 
edition of Smith’s “Catalogue” infra Hats, Vol. III, No. 65. 


No. 63 


GERARD PIETERSY VAN ZYL 
(Gherard van Leyden) 
Dutcu: 1606—1667 


PORTRAIT OF A NUN 
( Panel) 


3 Le, = Height, 18 inches; width, 124% inches 


SMALL three-quarter length of middle-aged lady, standing to front, jin nun’s 
costume, black cloak with white cuffs and broad stiff white double collar, 


black cap with reflexed brims; fair hair; mauve curtain and distant land- 
scape background. 


No. 64 


SIGMUND HOLBEIN 
German: 1465-70—1540 


PORTRAIT OF A LADY 
( Panel) 


SiG ee 


Height, 23 inches; width, 17 inches 
SMALL half-figure to front, black dress, red sleeves, white collar cut square 
over shoulders and edged with red, dark hair with white hood; gold waist 
chain, white cuffs; hands clasped, holding a pink; gray background. 


Inscribed at top to right: Afratis sum. 19. 


Collection: Camille Marcille, 1876 (as by H. Holbein). 


No. 65 


JUDITH LEYSTER 
Dutcu: 1600—1660 


YOUTH WITH CAT 


; Canvas: Height, 244% inchesswidth, 23 inches 
360 phi Bebe oe 


bd ~ 
YAN - A 
Hatr-ricure to front of red-faced pedsant boy in brown coat, green 


breeches and red hat with black feather, leaning/back and smiling, holding 
in right hand a piece of cake, and with the other fondling a small black 
kitten which is looking unconcernedly out of the picture; gray background. 


m— 


From an anonymous sale at Christie’s, June 20, 19138, No. 61. 440 - 4-0 vy Oe: 


Fd \ A wv 2 No. 66 


\” LUCAS CRANACH 
A GERMAN: 1472—1553 


THE JEWELERS DAUGHTER 


Height, 30 inches; width, 23 inches 


[1 aes | OG 


HALr-riGureE of a young woman about twenty-five, directed to right looking - 
at spectator; scarlet and gold embroidered low dress; carrying with both 
gloved hands a tray with open jewel case showing pearl necklace, pearl 
and jeweled belts, and antique cameo; close-fitting head-dress with white 
feathers, red cap perched jauntily on side of head; three rows of necklaces 
with pearls and jewels; blue curtain background. Canvas transferred from 
panel. 


Signed at top left hand corner with the artist’s crest: a fying 
dragon with a crown upon its head. 


No. 67 


CORNELIS JANSSENS 
Dutcu: 1598—1664 


PORTRAIT OF MAN WITH LACE COLLAR 


( | Sie ' Canvas: Height, 29 inches; GZ 24 inches. 


iy : C ; Vor pe 2 Lae math 
Heap and shoulders of young man, to front, Joking spectator: Macken 
broidered dress over white vest (or shirt), elaborate lace collat/covering 
shoulders; masses of black hair falling over neck, slight mustache and chin 

tuft; gray background. 


Signed with initials and dated in lower left hand corner: C. J. Frecir 1635. 


From an anonymous sale at Christie’s, July 12, 1912, No. 16: JF- 16 - l Y. erfleeiuer 


No. 68 


GABRIEL METSU 
Dutcu: 1615—1658 


A VISIT TO THE NURSERY 


Canvas: Height, 30 inches; eee 31 inches 


Dar ee ee / Mid 
/ Fei ML / J LANA WM, LAA 


AN interior with six figures. The mother seated to right, her face seen in 
profile, in white dress, red dressing jacket and white ¢ap, holding the infant 
in yellow swaddling clothes on her lap. Standing by her side, her husband, 
dressed in gray large puffed shirt-sleeves, long wig, large felt hat in his 
right hand, is welcoming the visitor, an elderly lady in blue and black velvet 
dress, black lace shawl, holding a fan and accompanied by a little dog. The 
visitor is followed by a servant woman carrying a chair in her left hand, 
and a little box in her right; in front of the fireplace and leaning her right 
arm over the cradle is the elderly nurse in black. A fireplace with a Renais- 
sance chimney-piece, over which hangs a large sea picture, occupies the 
center of the background; to right a blue and gold bedstead, table with 
Oriental cover, on which are a basin, ewer, etc.; the stone floor of black and 
white marble slabs, with red carpet. 


| 


Signed and dated over doorway to left: G. Mrrsu, 1646. 


410-9 -0 6 Oe 
Collections: Madame de Falbe, May 19, 1900, No. 106¢ and Lesser Lesser, Z 
February 10, 1912, No. '75 (Hofstede de Groot, No. 110): 199-10 thin 


One of several versions of the picture described in Smith’s “*Catalogue,”’ 
No. 19; and by De Groot, No. 110, which version, however, is dated 1661. 


No. 69 


DANIEL MY'TENS 
Dutcu: Diep 1656 


PORTRAIT OF A GIRL 


Canvas: Height, 31 inches; width, 251 inches 
S09 & rad. Ler%p 
THREE-QUARTER figure of a little girl, about seven or eight, standing by a 
balcony, directed to right, looking at spectator; white satin low dress with 
jewel at center of bodice, jeweled bracelets; golden curly hair with pearl 
band, pearl necklace, both hands holding wreath of flowers; scarlet curtain 
and pillar to left, distant landscape to right. 


No. 70 : | a 7 


COSWIN VAN DER WEYDEN 
Dutcu: 1465—1588 


FAMILY OF THE VIRGIN 


7 Diem Canvas: Height, 38 inches; width, 261% inches ba 

| | , Lhe 
INTERIOR with six figures. To right, St. Joseph a middle-aged bearded 
man in blue dress, ermine shoulder cape, scarlet hat and yellow boots, 
looking, with hands upraised, towards the youthful seated Virgin, who is in 
scarlet dress and gold-embroidered cap and is reading from a Book of 
Devotions. The four children carry the emblems of their future callings, 
the youthful Christ has his cross, the carpenter his saw, the architect his 
rule and the blacksmith his hammer; background gray wall with open 
window (over which are two carved trumpeteers and scalloped shell), show- 
ing houses and distant hills. 


Exhibited at Charleroi, 1911. 


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No. 71 


JOACHIM VON SANDRART 
Dutcu: 1606—1688 


PORTRAIT OF A LADY 


Gi IO Canvas: Height, 35 inches; BEY OG inchep ae 


HAtLr¥-FicureE, about thirty, directed to left and looking at spectator: ana 
black low dress with red bodice, short sleeves with broad white cuffs; three- 
row pearl bracelet on left arm, which is raised, the hand holding pearl and 
jeweled pendant at breast, broad white crossover, two-row pearl necklace; 
long golden hair falling over shoulders, small scarlet pearl-trimmed cap at 
back of head. 

Signed and dated, to left in black letters, J. SanvRartT, F. 1648. 


/ fone y . 
Collection: Charles Butler, May 26, 1911, No. 212: FH - 74- Wy kh, Von fe mer 


No: 72 


JACOB GERRITSZ CUYP 
- Durcn: 1575—1649 


PORTRAIT OF A CHILD 


Canvas: Height, 36 inches; width, 28 inches 


avium Ut 


Sma.u whole-length figure of six or seven, standing to front in thé pen, 
looking at spectator; dark red dress, black bodice, white apron, broad white 
collar fastened with yellow bow; fair close-fitting white cap edged with lace 
and gold-embroidered band, red coral bracelets; right hand holding posy 
of flowers; straw basket suspended from left arm; background castellated 
buildings, partly in ruins, and gray cloudy sky. 


_ From an anonymous collection at Christie’s, June 7, 1912, No. 90? 107 - 14-0 A. Jotiu i . 


Li VIRn SS 
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No. 73 


JACOB A. BACKER 
Durcu: 1608-9—1651 


MAN WITH PEN IN HAND 


y i; Ci oat ae Canvas: Height, 351 inches; width, 29 inches 
LY Vy 
HAtLF-FIGURE of middle-aged man (apparently a Jewish rabbi) seated at a 
red-covered desk, to front, looking seriously to left as if solving a mental 
problem; dark dress and fur overcoat, gold neck-chain; brownish beard, 
black cap, right arm resting on open book on desk holding pen in hand, left 
hand clenched on lap, ring on last finger; gray background. 


Painted under the influence of Rembrandt. 


No. 74 


MICHIEL J. VAN MIEREVELD 
Dutcu: 1567—1641 


LADY WITH RUFF 
( Panel) 


A Chr is ae Height, 39 inches; ok el, 
eee mo 


THREE-QUARTER length of a good-looking young Dutchwoman anne quality, 
standing, directed to left, looking at spectator; dark greenish patterned 
dress embroidered with gold, white reflexed cuffs, large circular starched 
ruff, white linen and lace head-dress; dark hair; a ring on the penultimate 
finger of each hand, the right resting on arm of chair; to left table with 
gilt-edged Bible with silver clasps; greenish background. 


Dated in gold letters at top right-hand corner: Airatis 80, 1631. 


From an anonymous sale at Christie’s, July 5, 1902, No. 128, where it is 
ascribed to N. Elias: YY. F-f 
/ 


~ a ~  \\r No. 75 


FERDINAND BOL 
~ . Dutcu: 1611—1681 


LADY AND TWO CHILDREN 


‘ Canvas: Height, 41 inches; width, 32 wecehes. 
a ) 9 9 3 \ é 
UE ae oe | Reeve | 


THREE-QUARTER figure of young woman under thirty, seated, directed to 
left, looking at spectator; green dress cut square and embroidered with gold, 
white insertion at elbow and white cuffs, left hand on lap; fair hair, black 
and gold head-dress with long streamers; younger child in green and gold- 
embroidered dress, white cap and collar, seated on its mother’s lap, holding 
a basket of grapes in one hand and offering with the other a bunch to its 
mother; the elder child in gold dress and red cap standing by its mother’s 
side and holding ribbons; gray background. 


Signed and dated im gold letters in lower right hand corner (the: 
F. B. intertwined), F. Box, 1655. 


From an anonymous sale at Christie’s, June 20, 1918, No. 111: Nf -p- " 4 Topher’ ly 


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te No. 76 


‘ | JOHANNES VAN KESSEL 
Durcu: 1648—1698 
LANDSCAPE 
ey Canvas: Height, 33 inches; length, AG inches a 
Ke — & 2 : 2 4, / , 


LY 


A 
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A BroaD stretch of rich summer irregular landscape, the center of the pic- 
ture occupied by low-lying lands through which passes a canal or lake with 
boats; in the foreground red-tiled cottages, a herd of cattle, and a cavalier 
passing towards a rustic bridge, and in the distance a cornfield with sheaves 
of corn; to right the undulating landscape ends in a deep sandy cliff. 


Collections R. Wynne Williams, February, 1868; and anonymous owner, 


April 25,1918, 24 97: 673 “—b-Q When. 


cae No. 77 


NICOLAES MAES 
3 Durcu: 1632—1693 


PORTRAIT OF A LADY 


74 : | Canvas: Height, 44 inches; width, 33 inches 


THREE-QUARTER length of middle-aged thin-faced lady, to front; low white 
satin dress, short sleeves, pearl pendant at center of corsage and on left 
sleeve; fair curly hair in ringlets falling on shoulders and with pearl orna- 
ment; pearl necklace and drop earrings; right arm resting on ledge of rock, 
left hand in tiny stream of water which falls from the rocks. 


Signed and dated on rock to left, N. Mazs, 1670. 


Purchased from Messrs. Sulley & Co., London. 


SEER ee 


No. 78 


NICOLAES MAES 
Dutcu: 1632—1693 


FAMILY GROUP 


oh a ae Canvas: Height, 36 inches; ee, inches & y 


4 


THREE small whole-length figures on a balcony. The middle-aged full- 
faced husband, in blue dress, yellow cloak, white large cuffs and long wig, 
standing to right; left arm leaning on sculptured flower vase and _ holding 
baton in hand. The wife, a young woman, seated to left in white low dress 
with pearl and jewel pendant at center of corsage, red cloak across shoul- 
ders and on lap, the end held in right hand; dark curly hair with pearl rope, 
pearl earrings and necklace; left hand holding child’s right arm, on the hand 
of which a bird is perched; the child, in pink dress and red felt hat with 
white feathers, is by its mother’s side; red curtain, building and trees to 
left, distant landscape to right. 


‘ No. 79 


MICHIEL J. VAN MIEREVELD 


Dutcu: 1567—1641 


MARGUERITE VAN BROMKORT 


(Panel) 


Height, 4814 inches; width, 334% inches 


(Lar Y). & 


THREE-QUARTER figure of a young lady of quality, directed to left and 
looking at spectator; dark gray dress with elaborately embroidered corsage 
which ends in a broad tongue-shape flap; long white lace cuffs, gold brace- 
lets, red and gold gloves held in right hand, on the index finger of which is 
a large ring; black hair with pearl and gold ornament, stiff high lace head- 
dress, broad white lace ruffle, long gold neck-chain of many rows, with center 
piece of ruby and emeralds; green background. 


With coat-of-arms, name of personage and date, 1623, at top left 
hand corner. 


a 


No. 80 


SALOMON DE KONINCK 
Dutcu: 1609—1668 


SOPHONISBA 


ip 9 gt Canvas: Height, 58 inches; length, 65 inches 


3 
INTERIOR with four figures. Sophonisba to left in white satin low dress and 
rich red and old gold cloak; fair hair with pearl rope; left hand holding 
handkerchief and looking apprehensively towards a dolphin-shaped golden 
urn, which is held up by a man in a demi-suit of armor, and of which an 
old woman is lifting the lid; beside her is a weeping servant woman; portico 
to right, dark green curtain to left. 


No. 81 


MICHIEL VAN MUSSCHER | 
Drow: 164521705 i 


THE CONCERT 


57 inches 


g i 5 ‘S = Canvas: Height, 54 inches; lengt B oe 


A spacious hall with three small whole-len es. The gentleman 
to right in black dress with white cuffs, tasseled neckerchief and long hair 
(or wig) is seated on a wood chair playing a violoncello; to left the lady 
in white low satin dress with ruby and other ornaments, and blue shawl, 
is encouraging a pet dog whose fore-paws are on her lap; in the center is a 
table with dessert and decanters of wine, and a serving maid holding a dish 
of oranges; gray and white slate floor; to right trees and house, pillar and 
dark curtain to left. | | 


Signed and dated on lower end of pillar to left, M. V. Mtsscuer, 
Pinxit A°. 1671. 


Illustrated and described in C. Sedelmeyer’s ““Second Hundred of Paintings by 
Old Masters,” in 1895, p. 28. 


a aor Se 


aad gee 
ee 


No. 82 


PAULUS MOREELSE 
Dutcu: 1571—1688 


LUCY HARINGTON, COUNTESS OF BEDFORD 


Se. Canvas: Height, 43 inches; width, en inches 


n 


Eldest daughter of John, first Lord Harington; married, in 1594, Edward, 
third Earl of Bedford; died May 31, 1627. The Countess was a great patron 
of poets, notably Dr. Downe, Ben Jonson, Drayton and Daniel, all of whom 
wrote verses in her praise. The Duke of Bedford owns her portrait by Hon- 
thorst, and two others by unknown artists. 


THREE-QUARTER length of elderly thin-faced lady standing to front and 
looking at spectator; black dress with elaborate garniture of large black 
beads, white cuffs and large white lace ruff, brown hair with small black cap, 
black earrings, locket with pearl pendant at breast; left arm resting on back 
of red chair, right hand holding fan; dark red curtain background. 


Dated in silver letters at top right hand corner, 16138. 


Collection: Charles Butler, May 26, 1911, No. 199- 440 -[- f A. Whee fie 


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THURSDAY, APRIL= 22, dots 


IN THE GRAND BALLROOM 
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FIFTH AVENUE, 58th to 59th STREET 


BEGINNING PROMPTLY AT 8.15 O’CLOCK 


oa No. 83 
2 


MADEMOISELLE J. PHILIBERTE LEDOUX 


tm | 8 \ 
\ ) Vv FrencH: Latrt E1iGHTEENTH CENTURY AND UNTIL 1815 


GIRL ASLEEP 


/f- min pbatears Canvas: Height, 18 inches; width, 1¥ inthes (3 | 
Ww Mes Nie OF Ad 


GREUZE-LIKE head of a young girl in white dress and blue sash, her head 
leaning to right on the edge of a blue sofa. 


Mademoiselle Ledoux was the “‘éléve chérie” of Greuze ; authentic examples 
of her work are exceptionally rare. She approached so nearly to her master 
that most of her pictures have long passed as by him. 


ee No. 84 


MADEMOISELLE J. PHILIBERTE LEDOUX 


Frencu: Late E1cHTEENTH CENTURY AND UNTIL 1815 
GIRL LISTENING 


pee 7) ve Canvas: Length, 18 inches; width, 14M inches | J ff 

wa VC. MVAMMHE_ 
ANOTHER Greuze-like picture of a young girl, to front, with her ear to the 
keyhole of a door; white dress, black satin shawl loosely tied across shoul- 
ders; right bosom uncovered; golden hair with rope of pearls. 


—_ 


S No. 85 


MADAME VIGEE LE BRUN 
Frencu: 1755—1842 


COMTESSE DE VERDUN 


a/50 '- : 
Probably Pulchérie Tranquille de Lannion, daughter the Gn de Lannion; 
married in February, 1766, Charles Armand Marquis de Pons en Saintonge, 
into whose branch the title of Verdun appears to have developed. ‘The 
Marquise de Pons appears in the list of ““Dames pour accompagner Madame” 
in the “Almanach Royal” of 1788, by which time apparently her husband had 


succeeded to the Marquisate. 


Canvas: Height, 25 inches; ie inches 


HaA.r-FicurE, under thirty, to front, looking at spectator; low white dress; 
red laced bodice and red shoulder straps; powdered hair, yellow straw hat 
with blue ribbons and posy of flowers. 


Vd 
Collection: Eugene Kraemer, Paris, May, 1913, No. 52 (with an illustration)? ocd) Ay Ut 
(ated 14.000 ) Ibo df. ie 


The Comtesse de Verdun sat to Madame Vigée i Brun several times,‘1 
1776, 1779, and again (with her family) in 1780. 


No. 86 


FRANCOIS BOUCHER 
FRENCH: 1703—1771 


AMORINI 


7 Vig Prete Canvas: Height, 24 inches; length, 28M inches 
ane Pur, eee a 
\ L ¢ KH- f) 


THREE amorini on clouds, one of whom is weaving a wr resth of 6wers around 
the miniature of a child; blue drapery; a jewel box, arrow’ case and two 
doves are among the accessories; Cupid to left holding an arrow. 


No. 87 


a \ \ N. B. LEPICIE 
yi Frencu: 1735—1784 


HEAD OF A YOUNG GIRL 


Canvas: Length, 24 inches; width, 18 inckes 


o ip AG Rau tlaex 
GREUZE-LIKE head of a young girl, to front, looking to left, blue striped 
white low dress; golden hair, white mob cap with blue ribbon. 


No. 88 


NICOLAS DE LARGILLIERE 
Frencu: 1656—1746 


VICOMTESSE DE NARBONNE-PELET 


Canvas: Height, 80 inches; width, 25 inches 


ila 63 


HatLr-FicurE of a young lady, standing, looking at spectator; low blue dress 
edged with gold, white insertion and spray of red flowers at bosom, brown 
patterned rococo-shaped corsage with pearl pendant and row of black beads; 
scarlet flowing cloak fastened on left shoulder with pearl and jewel brooch; 
powdered hair bound with blue ribbon and with pearl ornament; trees in 
background to left and right. 


Fae No. 89 


\ JEAN RAOUX 
Frencu: 1677—1734 


PORTRAIT OF A LADY 


/ ent Canvas: Height, 31 inches; width, 24 inches 
HALr-FIGurE of attractive looking lady, about twenty, seated, directed to 
left, looking to right, full face; brown low dress embroidered with gold and 
with white insertion at corsage, white starched ruff and cuffs; golden hair 
with black cap and blue and yellow feathers; hands resting on lap, the 
right holding a sealed letter. 


PIERRE MIGNARD 
Frencu: 1610—1695 


LADY WITH A DOG 


Canvas: Height, 33 inches; width, 27 inches 
Sa Se LG 


HaA.r-LeNctH of a middle-aged lady, seated with King Charles spani 
her lap, by a clump of trees, to front, head turned slightly to left, looking 
at spectator; white low dress, short sleeves, red and gold patterned over- 
dress with pearl and jewel fasteners, blue shawl across shoulders, one end 
on lap; fair curly hair with pearl band, pear! drop earrings, pear! necklace, 
three pearl bracelets on each wrist, the right having also a black ribbon 
bracelet set with jewel; distant landscape to left. 


e No. 91 


fe : y 


LOUIS TOCQUE 
FrencH: 1696—1772 


MADAME DE LA MARTELIERE 


Canvas: Height, 39 imches; width, 31 inches 


ee co aa 


THREE-QUARTER figure, seated on a wood chair, to front, playing a guitar; 
bluish white low dress, with short lace-trimmed sleeves, elaborately garnished 
with various colored zmmortelle flower heads; powdered hair with pearls and 
flowers; gray-blue background with sculptured terra-cotta vase to left. 


Signed and dated in black letters at foot of vase: Tocauk, 1752. 


The name is probably an error for “de la Mazeliere.”’ 


CT) 


No. 92 


ANTOINE VESTIER 
Frencu: 1740—1824 


COMTESSE DE LA GARDE : 


om) ot Canvas: Height, 35 1 ee 28 WOpe 


HA.r-FicurE, about twenty-three, seated on red upholstered chair, to front, 
looking at spectator; green low dress with wide skirt, narrow long bodice, 
short sleeves with white frills, white fichu, bow of gray ribbon at center of 
corsage; powdered hair dressed high, a broad curl falling on each shoulder, 
bound with slate colored ribbon and ornamented with white feather and red 
rose; hands on lap, left holding two roses; gray background. 


ae 


CrP 


No. 93 


NICOLAS DE LARGILLIERE 
Frencu: 1656—1746 


AMPHITRITE AND ATTENDANTS 


ee Canvas: Height, 35 inches; length, 4944. incl 
ees g g % is / 
- ‘ ‘ 4, Ant 


Tue wife of Neptune in slight draperies of white, blue and red, riding on a 
Dolphin, with attendants including Cupid holding torch; to right on the 
rocks is a figure playing a flute. 


Collection: H. M. W. Oppenheim, London, June, 19138, Ni HA 131-3-0 4 Terfouwnr 


(Fractier yt ‘75) 


No. 94 


MADAME VIGEE LE BRUN 
Frencu: 1755—1842 


MADAME VESTRIS 
v4 ARES) ‘— Canvas: Height, 8514 inches; width, 28 inches © 


HaF-LENGTH, about twenty-five, walking in the open to left, looking/ to 
right; white bodice edged with gold, short sleeves, flowing blue robe “em- 
broidered with gold, the end held in left hand, right hand resting on left 
arm; red coral necklace, ruddy hair over forehead and flowing in the wind 
at back of neck, bound with red and golden ribbon; sunset background. 


Signed and dated in lower left hand corner: L. K. Vicker Lesrun, 
1804, A LonpRreEs. | | 


Exhibited: Portraits de Femmes et d’Enfants, Paris, 1897. Described and 
illustrated in Sedelmeyer’s “Fourth Hundred Paintings by the Old Mas- 
ters,” 1897, No. 74. : 2 / 

M36: ALSX 4. Hen 

Collections: D. H. King, New York, 1905¢ and “A Gentleman,” London, 

May 15, 1908, #2 701; 157-0 -b i.4apGs 
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No. 95 


NICOLAS DE LARGILLIERE 
Frencu: 1656—1746 


VERTUMNUS AND POMONA 


ae Canvas: Height, 37 inches; length, C Tage 7 
i Piet ee ge 
Pomona in blue, white and yellow classical dr aper ies, seated On a b Aan aera 
gardening implements, pointing with the left hand to a group of fruit; on 
the right Vertumnus in the guise of an old woman, in red robe and green 
head covering, is directing the attention of Pomona to an elm entwined with 
a grape-bearing vine; to left conservatory, to right blue sky and hills. 


Collection: H. M. W. Oppenheim, London, June, 1918, N44 : 1381-$-f See ante 


N93. he Neteuimer. 


No. 96 


NICOLAS DE LARGILLIERE 
Frencu: 1656—1746 


ee Men ce: | | 
DUC DE PENTHIEVRE (gLte (3 ay, 


Canvas: Height, 351% inches; width, 29 inches 


Louis Joseph, Duc de Penthiévre and afterwards Duc de Vendome; born in . 
1654; entered the French army and distinguished himself in many battles; 
died at Tinaroz, Valencia, June 15, 1712. 


HALF-LENGTH, about forty, standing, directed to right, head turned and 
looking at spectator; deep red patterned robes, white lace neckerchief ; 
long flowing curly wig; white lace cuffs; right hand extended, ring on last 
finger; red curtain to right. 


No. 97 


FRANCOIS GUERIN 
Frencu: Diep 1791 


FILLETTE JOUANT AVEC UN GARCON ENDORMI 


—~ovw 


a Canvas: Height, 39 inches; length, 58 inches. 


| Cv_CLr- 
Group of two figures in a landscape; the sleeping youth rediining on a 
golden-yellow cloak, in négligé dress of white shirt, yellow breeches and stock- 
ings; to left golden-haired girl in brown velvet low bodice with pink and 
white sleeves, bunch of forget-me-nots at center of corsage and band of 
flowers in her hair, holds in her left hand a wisp of grain with which she is 
tickling her fair companion; by his side a battledore and shuttlecock, which 
he has recently been playing. 


Signed and dated on trunk of tree to left: F. Guérin rec. Pryxir 
EN 1791” (last letter indistinct). 


An overdoor decorative painting by an artist whose works are now rarely 
met with; he was a popular painter of his time and was a member of the French 
Royal Academy of Painting, exhibiting at the Salon from 1761 to 1783. He 
painted many genre pictures, landscapes and portraits of famous men and 
women; the present example of his work is one of the most attractive of his 
fancy subjects which have come down to us. 


No. 98 


HYACINTHE RIGAUD 
Frencu: 1659—17438 


THE DUC DANTIN 


Canvas: Height, 38 inches: length, 47 inches 


7 nee 7 
sachde : (9 mar dre 
Louis Antoine de Pardaillan de Gondrin, son of the Marquise de Montespan; 


born in 1665; Lieutenant General of the King’s armies; died in 1786. 


HA.r-ricure of elderly man, to front, looking to right, in armor, blue and 
ermine cloak fastened with ruby and pearl brooch; right hand resting on 
staff or baton, left on hip; long gray wig; fort to right, landscape to left; 
background, blue sky and clouds. 


Painted about 1720. 


There is another portrait of the Duc d’Antin by Rigaud at Versailles, 
No. 2500. 


70 hn > Oe No. 99 


( po) CARLE ANDRE VAN LOO. 
Frencu: 1705—1765 


PORTRAIT OF A GIRL 


7, Sans ef Canvas: Height, 431 inches; width, 33 mches 
SMALL whole length of a fair-haired child about three or four; white and 
blue low dress, right hand holding letter addressed “Au Roy,” left holding 
scarlet ribbon, one end of which is tied to the collar of a dog whose front 
paw is resting on gilt pink-upholstered chair, on which is child’s plumed blue 
hat; yellow and red curtains and paneled background. 


No. 100 


CARLE ANDRE VAN LOO 
Frencu: 1705—1765 


COMTESSE DE BEAUFORT AS SULTANA 


ie GJ Lactate MWh 
THREE-QUARTER length, about thirty, to front, looking at spectator, full/ 
face, black low dress with red and gold bands, embroidered shawl loosely 
tied around waist, the end over right arm; jeweled brooch at center of cor- 
sage, jeweled neck chain with pendant; powdered hair, white turban with 
red crown and feather aigrette; right hand holding black mask, left arm rest- 
ing on table; pillar to left, green curtain to right. 


Canvas: Height, 45 inches; width, 35 inches 
yi oo f ey, {2 So 


Collection: Duc de Praslin. 


No. 101 


LOUIS JOSEPH WATTEAU (of Lille) 
Frencu: 1758—1813 


PORTRAIT OF A LADY 


3 Ceye) a Canvas: Height, 4614 inches; wadth, 36 inchés 
Neary whole length of middle-aged ne seated on red upholstered chair, 
directed to left, looking at spectator; old gold low dress with white gauf- 
fered fichu and white waistband; golden hair bound with white ribbon and 
pearl rope, gold earrings; right arm resting on table, holding two red 
roses in hand, left hand on lap holding greenish shawl; background gray 

curtain. 
Signed at right hand bottom corner: WatTTEAU (?DEL). 


From the Abeille Collection. 


No. 102 


FRANCIS POURBUS 
Frencu: 1569—1622 


ANNE OF AUSTRIA 


- Canvas: Height, 49 inches; width, B9 inches 

I otS *= 
Daughter of Philip III of Spain; born at Madrid, September 22, 1601; married 
Louis XIII of France by proxy at Burgos, October 18, 1615; Regent of France 


during the minority of her son, Louis XIV, 1643-61; died January 20, 1666. 


‘THREE-QUARTER length, about twenty, standing to front in full robes, ermine 
cloak, green dress embroidered with golden fleurs-de-lis, white tripartite 
corsage studded with large pearls and precious stones, green sleeves with 
small white puffs and jewels; large white ruff, white lace cuffs, pearl brace- 
lets and earrings; fair hair with crown; right hand resting on cloak, of 
which a fold is held in the left; red curtain background. 


eas | No. 103 


JEAN FRANCOIS DE TROY 
Frencu: 1679—1752 


PORTRAIT OF A LADY 
Lh a5 -- Canvas: Height, 491% inches; length, 3914inches/) , 


THREE-QUARTER length, middle-aged, standing, directed to left and looking 
at spectator; blue low dress with short broad sleeves trimmed with lace, 
red cloak over right shoulder; curly hair; right hand pointing to right and 
holding flower; large sculptured flower vase on left, blue curtain. 


ee No. 104 


ADELAIDE LABILLE-DES-VERTUS GUIARD 
Frencu: 1749—1803 


PRINCESSE DE LAMBALLE 
Canvas: Height, 50 inches; width, 88 inches 


Marie Théreése Louise, daughter of the Prince de Carignan; born at Turin in 


¢ 


“intimate friend of Marie Antoinette; died m/T792. o es. y 
Neary whole length, under thirty, to front, seated in green {rmchair; 
red low dress trimmed with brown fur, short sleeves edged with white lace, 
pearl bracelets, powdered hair, white head-dress, the ends loosely folded 
over bosom; right elbow on edge of chair, hand holding tortoise-shell fan; 
left hand on lap, index finger extended; green curtain and pillar back- 
ground, clouds to right. 


G September, 1749; married in 1767 Louis of Bourbon, Prince de Lamballe, the 
Ao = 


A different portrait of the Princess, by the same artist, is reproduced in 
the Gazette des Beaux Arts (1902), Vol. 27, p. 113. 


©. 


No. 105 


HYACINTHE RIGAUD 
Frencu: 1659—1743 


MADAME RIGAUD 


Canvas: Height, 50 inches; width, 37144 inches 


bh rl ae 


Elisabeth de Gouix (or Goion), widow of Jean Lejuge of Paris; married in 
1710, Hyacinthe Rigaud, Painter-in-ordinary to the King—the original mar- 


dh -—.Yiage contract appeared in a sale held in London on November 28, 1918; she 


died March 15, 17438, aged 75. 


Nerarty whole length, about thirty, standing, directed to left, looking at 
spectator; green low dress with white insertion, corsage embroidered with 
gold and the skirt with silver, short sleeves, blue cloak over right shoulder 
and arm; right hand extended, left holding end of cloak; black hair in curls 
with white ribbon; to left dark curtain, to right large sculptured flower 
vase; gray background with two pilasters. 


Described and illustrated in Sedelmeyer’s “Fifth Hundred of Paintings by Old 
Masters,” 1899, pp. 100-101. 


Rigaud painted several portraits of his wife before and after his mar- 
riage. A romantic story of his first portrait of her is told in L’ Artiste of 
March, 1870, pp. 275-6. 


| No. 106 


HY ACINTHE RIGAUD 
Frencu: 1659—1743 


LADY IN RED 


Canvas: Height, 54 ce we th, 40 eles 
THREE-QUARTER length, middle-age, standing to front; old-gold low dress 
with white lace insertion, short sleeves edged with white lace, blue and red 
asters at center of corsage; rich scarlet overdress with pearl ornament; pow- 
dered hair with pearl pin and spray of foliage; right hand extended, left 
holding fold of dress; to left pillar with pedestal carved with boys, goats, 
and vine-leaves, to right trees. 


Collection: H. M. W. Oppenheim, June 13, 1913, N ‘of p Ih gis 4j- 0 AVR pe urn, 


No. 107 


ADELAIDE LABILLE-DES-VERTUS GUIARD 
| Frencu: 1749—1803 


LADY AND CHILD 


Oma/| Canvas: Height, 56 inches; reidth, 44 mches 


WHOLE length of a young lady seated in Bail and blue upholstered chair, 
directed to left, looking at spectator; greenish shot silk low dress, double row 
of buttons at corsage, broad white collar, sleeves trimmed with white; pow- 
dered hair, light blue hat with blue ribbon; left arm resting on blue cushion; 
infant in white and red dress on lap, end of its pink sash held in mother’s 


left hand; to left sculptured urn and low table with tea things. 


No. 108 


NICOLAS DE LARGILLIERE 
FRENCH: 1656—1746 


PORTRAIT OF A LADY OF THE COURT OF LOUIS XIV 


Canvas: Height, 68 inches; width, 50 inches 


[7 Pe Cd aw (rate 
HREE-QUARTER length of a middle-aged lady at her toilet, to front; white 


gold-embroidered low dress with short lace-trimmed sleeves; dark hair with 
pearl and ribbon bands which she is fastening with both hands; rich blue shawl 
over shoulders; to left dressing-table with mirror; blue Chinese vase with 
flowers, Jewel case and pink drapery; to right carved wood red upholstered 
chair; pillar and red curtain background. 


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No. 109 


JACQUES LOUIS DAVID 
Frencu: 1748—1825 


NAPOLEON BONAPARTE 


Ohberte 6 Goh 


a Canvas: Height, 591% inches; width, 431% inches 

W Ho te length seated on a rocky coast, directed to left, looking at specta- 
tor; in uniform, green coat with gold buttons and epaulettes, red cuffs and 
collar, red and green sash seen under coat, red rosette with eagle pendant and 
star of an order on breast; white waistcoat (with gold snuffbox in pocket) 
and breeches, top boots, gold handled sword by side; hands crossed on lap, 
left holding paper; gloves and hat on floor; to right eagle on rock above, nest 
of dead eagles and snake below, to left cottage with awning, and sea in dis- 
tance. 


This appears to be an unrecorded portrait of Napoleon; is probably by 
one of David’s pupils, and not done ad vivum. 


No. 110 
NICOLAS LANCRE'T (School of) 


FETE CHAMPETRE 


q Ae Canvas: Length, 71 inches; OL hae & [/ 


Group of eighteen figures near the stone steps of the entrance to a richly 
wooded garden; the two central figures, a youth in fancy costume and a 
girl in plain gray dress, are dancing to the strains of a fife, guitar and tam- 
bourine; in the middle distance three seated figures are taking refreshments; 
to left a youth playing a violin and reading the music from a page held by 
a seated girl; to right, and near a carved fountain, are three figures in con- 
versation; other features in the composition are two dogs and bagpipes, the 
latter presumably the instrument of the youth dancing. 


4 
Collection: Lesser Lesser, February 10, 1912, No. 9: 14 8- 10- 0 hen’ 
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No. 111 


CARLE ANDRE VAN LOO- 
Frencu: 1705—1765 


EMPEROR OF GERMANY 


3} 7Z Ma ee: Canvas: Height, 87 inches; width, 49 inches 
. aE 

WHOLE length, when young, standing to front, lela Gs “Tig rere 
robes; gold patterned coat and breeches, white stockings, black shoes with 
jeweled buckles and red heels; long flowing gold embroidered cloak, the folds 
of which fall over green and gold upholstered state chair; gray wig, white 
lace collar, the Order of the Golden Fleece suspended by red ribbon; to right 
carved gilt table with red drapery on which are scarlet and ermine cloak, 
crown and orb; gold staff or scepter held by right hand; overhead gold cur- 
tain to right with rope and tassels to left. 


This and the following are referred to at length in Mr. Roberts’s Introduction. 


No. 112 


CARLE ANDRE VAN LOO 
Frencu: 1'705—1765 


EMPRESS OF GERMANY | 
(The pendant of the preceding portrait) 


77 oc Canvas: Height, 87 inches; width, 49 inches 


WHOLE length, about forty, to front, in state robes, gray satin low dress and 
short sleeves, elaborately decorated with pearls and precious stones, black 
gold-embroidered underskirt, scarlet and white cloak across shoulders; right 
hand holding gold double cross, left resting on stool; crown and orb on table 
to left, dark curtain background, alcove to left. 


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No. 113 — 


NTHONY VAN DYCK 
|Freaasi: 1599—1641 


| Height, 16 inches; width, 18 inches — 


3 of ate eae ante directed to left, his right hand rest- 
ears to be his cross. Chalk drawing on canvas. 


No. 114 


BERNARD VAN ORLEY 
Fremisu: 1490—1542 


VIRGIN AND CHILD 


// 4 ~) oe Height, 17 inches; mec ug (3 | 
Tur Virgin, beneath a canopy of dark draperies, seated on a plain wood 
bench in front of a long table on which fruit is spread; blue dress, rich scar- 
let cloak across her shoulders and lap, white head-dress with long ends; the 
child seated on his mother’s lap, holding an apple in his right hand, a red- 
breasted bird perched on his left; in the distance to right a country scene 
with cottages, river and high peaked hills. 
Transferred from wood to canvas 


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No. 115 


SIR PETER PAUL RUBENS 
Friemisu: 1577—1640 


HEAD OF PRINCESS ELIZABETH 


p Er Canvas: Height, 24 inches; width, 19 inches 
Y | ee f FO 5% oy 3 4 
Uh blonrme Vann 


Bust of Princess in middle age, to front, blue and black low dress Cut square, 
with pearl pendant and band of pearls and precious stones, white large 
wedge-tipped ruff; fair hair with pearl band, drop pearl earrings; scarlet 
curtain background. 


No. 116 


JUSTUS SUTTERMANS 
Friemisu: 1597—1681 


LADY IN RED DRESS 
(Probably a member of the Medici family) 


EF IP Canvas: Height, 50 inches; width, 36 inches ‘ 
(ee, esis | 
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Neary whole length of a lady of quality about thirty, standing; directed 
slightly to left; looking at spectator; large sleeveless cloak elaborately em- 
broidered with gold; red dress embroidered with gold in perpendicular lines, 
corsage terminating in long tongue-shaped flap and similarly embroidered, 
creamy white sleeves with gold pattern, white lace cuffs, red bead bracelets, 
broad stiff lace collar edged with red and tied with red ribbon bow; red bead 
necklace, and long rope of same passing over shoulders, long gold necklace 
in which is entwined second finger of left hand; right hand resting on green 
covered table; brown hair with red ribbon and jeweled aigrette or comb. 


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No. 117 


JUSTUS SUTTERMANS 
Friemisu: 1597—1681 


PORTRAIT OF A SPANISH LADY 


3 sO oo Canvas: Height, 33 inches; Lees 26 inches Z | 

Jf a a> ao Ze A VS 
Har figure of a young woman standing to front, ellis at spectator; 
brown dress, white sleeves with small richly-worked cuffs, double-row gold 
neck chain and long necklace of black beads and gold; brown hair with red 
flower, gold and pear] earrings, elaborate white stiff collar; left hand with 
ring on last finger, holding open book; right hand, ring on penultimate fin- 
ger, holding handkerchief. 


Sold at Christie’s on June 14, 1852, No. 76, as a Velasquez: ‘““Head of a 
Spanish Princess in rich dress.” 


No. 118 


SIR ANTHONY VAN DYCK 
Fremisu: 1599—1641 


A LADY OF THE CONINGSBY FAMILY 


er TC diab Canvas: Height, 711% inches; width, 42 mches 
WHOLE-LENGTH portrait of lady under thirty, walking to left up the st 
steps of a balcony; pink low dress embroidered with gold, pink-and bluish 
bodice with pink bows, black lace shawl over head and shoulders and flowing 
at back, deep white lace cuffs; pearl and gold necklaces, pearl pendants 
suspended by colored ribbon from gold earrings; golden curly hair, pink 
head-dress with pearl border; gloved right hand resting on fruiting orange 
tree, left hand holding fan and fold of dress; trees to left. 


Exhibited: Edinburgh Loan Exhibition, 1883, No. 184 (Sir George D. Clerk). 
Collections: Sir George Clerk, Bart., 1896;|Charles Butler, 1911, No. 220: 1 b- b 


hi 14d; 199- 10-0 a Toke mer 


No. 119 


SIR PETER PAUL RUBENS 
FLEMIsH: 1577—1640 


THE ADORATION OF THE MAGI 


Canvas: Height, 961% inches; length, 120 inches 


LIAO0O = yess 


On the extreme left are observed the heads of the ass an 
towards the right the Virgin holds the Child on her knees. She has a grayish- 
white cloth over her head, she wears a red dress with white sleeves and blue 
drapery; her feet are bare. Beside her is St. Joseph draped in neutral 
tones. In front of the Virgin, the Wise Man with the white hair and beard 
who holds out to the Child a basin filled with pieces of gold. He wears a 
simple white alb, over which is thrown a pink chasuble with a golden stole. 
In the middle of the picture the black King with white cloth around his 
head, and over his body an ample red cloak lined with gold and yellow with 
golden fringes and dressed in red. The very long skirt of the red cloak is 


th 


supported at the end of the picture by a pretty page boy whose head and leg 


are alone seen. Behind the negro King is the third King bearing a gold — 
censer, dressed in a neutral tinted grayish cloak over a dark-blue dress, and 
having black hair and beard. Behind this last King a tall page and a negro 
whose head and neck alone are seen, two men on horseback, one wearing a 
red cap and the other a cloak. Finally coming down a slope, six men, 
four of whom are soldiers, one officer and a Court dignitary. 


(See illustration, second page following) 


AUTHENTICITY: The above descriptive particulars were drawn up 
by the late Mr. Max Rooses, the eminent authority on Rubens, and dated Ant- 
werp, December 7, 1912. Mr. Max Rooses also wrote: “The composition is 
by Rubens entirely, and so are the principal figures. The Virgin is entirely 
painted by the hand of Rubens, as well as the child Jesus, of a beautiful bright 
color, standing out clearly. St. Joseph of a moderately conspicuous color by 


the hand of Rubens. The hand of St. Joseph is much more touched up than 
the rest. The Wise Man with the white hair is entirely by the hand of Rubens. 
The painter has placed a clear note in the middle of the picture; the drawing 
of this figure is less careful. The Negro King is the dominating feature of 
the picture. The red cloak trimmed with yellow and with a white fur collar 
fills the entire picture with an enormous brilliant touch and is one of the most 
admirable pieces the master ever produced. The light on the lining flashes 
the red color with the dark shades standing off against a brilliant light color, 
one of the most beautiful pieces of coloring it is possible to see. They form 
a blaze of color calculated to eclipse the richest picture in tones, and they 
dominate this picture powerfully and happily. The little page who holds the 
skirt of the cloak adds a broadly painted note of color and beauty, without 
very successful drawing, but admirable as a feature of the whole. The figures 
in the background decline in value and liveliness. The black-haired King and 
the Courtier are pretty abundantly retouched by Rubens; the steers, vaguer 
in the background, are executed by a pupil. The heads of the ox and the ass 
and the column on the ground are retouched by Rubens, in order to bring them 
into harmony with the vibrating part of the picture. 

“Rubens has divided this picture into three grounds. ‘The foreground 
contains the Virgin, the Infant, the old man with the white hair, the Negro 
King and the little page, to which are added the heads of the oxen and the 
broken recumbent column. The second ground contains St. Joseph, the black- 
bearded Wise Man, the courtier, the tall page and the black servant. In the 
third ground are the seven figures in the background, and the latter itself. 

“The composition is facile and ample. The picture does not possess the 
exceptionally high value of his best productions, but it is authentic and would 
do credit to a high-class collection. To sum up, the picture is composed by 
Rubens; it is painted in his hand as regards the figures in the foreground, 
and by that of a pupil retouched by Rubens in the background figures.” 
(Translation. ) | 

HISTORY: This picture was painted for the principal Altar of the 
Church of St. Martin in Bergues, French Flanders. It was sold in 1766 by 
the church authorities to meet the expenses for the repair of the building, 
and was bought by the celebrated amateur, Randon de Boisset. On the sale 
of his Gallery in 1777, the upset price of 10,000 livres (francs) was not 
reached. At Lebrun’s sale in 1791 it was sold at 9,500 francs and at Robit’s 
sale in 1801 for 7,950 francs, when it was purchased for Cardinal Fesch. It 
remained in the Cardinal’s fine collection until after his death in 1839. This 
Gallery was dispersed at the Palais Ricci, Rome, during the spring of 1845, 


me 


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and this Rubens is described at great length in the Expert George’s “Catalogue 
Raisonné,” No. 199 (pp. 222-226). It was acquired by Thibaut at 2,500 
“écus romains” (13,750 francs) for a member of the family. (the Cardinal 
was Napoleon’s uncle), in which it appears to have remained until March 12, 
18538, when it was sold at Christie’s as the property of Charles Lucien Bona- 
parte, Prince de Canino; it then realized £1,200, and was bought by Bentley, 
the well-known dealer. Since then it has been practically lost. 

The picture is fully described in Smith’s “Catalogue Raisonné,” Part 2, 
No. 119, where the size is not correctly given. It has been engraved by Nicolas 
Ryckman, with various differences in details, the engraver choosing an up- 
right form for his engraving and not that of the picture, which is oblong. 

VERSIONS OF THE SAME SUBJECT: Rubens painted this subject 
several times:—(1) In the Madrid Museum, done in 1610; (2) Brussels Mu- 
seum, done 1618-19, for the Capucin Fathers of Tournai; (3) Louvre, about 
1627, for the Annunciades of Brussels; (4) Dublin Gallery, belonging to Lord 
Ardilaun, repetition of the preceding by a pupil; (5) an example done in 1621 
for the Church of Ste. Gudule—this has disappeared; (6) Church of St. 
Jean, Maines; (7) the same, a sketch, the property of the Marquis of Bute, 
both painted in 1624; (8) Lyons Museum, a pupil’s work retouched by Rubens 
about 1619; (9) Antwerp Museum, 1624, done for the Church of the Abbey 
St. Michel at Antwerp; (10) The Hermitage, St. Petersburg, pupil’s work 
touched by the master; (11) the above described version for the Church of 
St. Martin, Bergues St. Winoc; (12) the Duke of Westminster’s version done 
for the Convent of the Dames Blanc at Louvain, of which there is a sketch in 
the Wallace Collection; and (18) the version done for the famous printer, 
Balthasar Morctus, at the New Palace, Potsdam. 


‘LISH SCHOOLS 


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f 


INTRODUCTION 


GENERALLY speaking, a picture dealer’s stock, when it comes to be sold by 
auction, presents a somewhat miscellaneous contingent of derelicts—pic- 
tures which for various reasons have not attracted collectors of very different 
tastes and buying capacities. ‘This is inevitable in the case of a dealer who 
caters for all classes of buyers. For the few who are satisfied with the pur- 
chase of an occasional masterpiece there are hundreds who are constantly 
on the lookout for inexpensive pictures of good decorative and artistic qual- 
ities. The late Mr. Blakeslee catered for all classes of buyers, and probably 
during his long business career had a larger number of clients than any 
other picture dealer on the American continent. 

A mere glance through this catalogue will more than demonstrate that 


9? 


his stock, so far from being a mass of “derelicts,” is, in point of fact, of a 
very high order in quality and importance. There are not perhaps many 
superb masterpieces—for such are rare even in a well-weeded private collec- 
tion—but there are here pictures which will withstand every test of authen- 
ticity, and which possess every artistic claim to the right of entry into the 
best of collections. 

The collection is especially remarkable for its portraits by English 
artists, and these comprise works by men who rank as Sir Joshua Reynolds’s 
predecessors, by those who were his contemporaries, and by those who car- 
ried on the traditions of the great founder of what is now comprehensively 
known as the Early English School, in which Sir Joshua himself is repre- 
sented by at least one great picture and a number of others of smaller size. 
It cannot be doubted that many of these will in due course find permanent 
homes in one or other of the public galleries or private collections of which 


there are so many throughout the United States. 


Portrait painting in England from the time of Van Dyck to Reynolds 
is represented by five of the leading artists, ranging from Dobson, who died 
in 1646, to Highmore, who lived to 1780. By Dobson there are not only two 
copies after his great master, Van Dyck, but also an interesting group of 
two children and another of Sir Charles and Lady Lucas—the latter an ex- 
cellent picture which offers a somewhat difficult problem. It came from a 
well-known collection, and has apparently always been known as represent- 
ing the famous Royalist and his wife; but there is no evidence so far as can 
be found that he was ever married, and probably the lady in the picture is 
his devoted sister, Margaret Duchess of Newcastle, an accomplished lady of 
literary tastes whose agreeable countenance has been preserved to us in Die- 
penbeke’s portrait. The best of the Lely portraits is that of Frances Lady 
Digby, which must have been painted towards the end of his career; another 
good picture is the group of the Prince and Princess of Orange, at whose 
marriage the artist was presented to Charles I. No other version of the pic- 
ture is known. 

Among the works catalogued under Kneller, attention will be at once 
arrested by the fine whole length in state robes of a lady. This came from 
the very large collection of historical portraits formed by James Earl of 
Fife towards the end of the eighteenth century and which remained at Duff 
House, Banffshire, until 1907. It has always passed as a portrait of Sophia, 
wife of George I, and by some attributed to Kneller, whose companion por- 
trait of the king was also in the same collection. In the matter of family 
and other portraits tradition counts for much, and it is not always easy to 
prove that it is wrong. ‘There are, however, many reasons against accept- 
ing this as a portrait of the unhappy consort of George I, who did not suc- 
ceed to the throne of England until 1698, or four years after his divorce. It 
is probable that the portrait represents their daughter, Sophia Dorothea, 
_ who married Frederick William I, King of Prussia, and may have been 
painted by A. Pesne, a French artist who had a large practice as official 
portrait painter in Berlin and to whom the Queen undoubtedly sat. When 
the portrait was exhibited in London the critic of The Times (December 
30th, 1890) pointed out that “this finely painted full length of a lady in 


Royal Robes, with the Crown of England by her side, was certainly 
painted long after 1726,” and suggested that it may be a posthumous por- 
trait commanded by George II as a memorial of his mother. And here for 
the present the matter must rest. 


By Jacob Housman, or Huysmans, a Dutch painter, who, as we know 
from Pepys, had a considerable vogue in London, there are two interesting 
portraits which help us to realize that many of his works now pass under the 
name of his more famous contemporary, Lely. Joseph Highmore, with his 
refined portrait of the celebrated actress, Mrs. Pritchard, and Hogarth, 
with an equally good portrait of another famous actress, Peg Woffington, 
help us to bridge the story of the art of portrait painting from Van Dyck 
to Reynolds. | 

The examples of Sir Joshua Reynolds are dominated by the magisterial 


? 


portrait of Annabella Lady Blake as “Juno,” which was one of the sensa- 
tions of the Royal Academy of 1769, the one jarring note in the criticisms 
of the day being a protest against “transferring ladies of the eighteenth 
century into heathen goddesses.” 'The picture is well known through the 
superb mezzotint by John Dixon, which has been copied times out of number. 
Nearly all the Bunburys—and Lady Blake was a Miss Bunbury—with their 
wives, children and friends—sat to Sir Joshua, and this fine picture is only 
one of the many tokens of the friendship which existed between the artist 
and a distinguished family. Of other well-known people represented here 
who sat to Sir Joshua, special reference can only be made to the Countess of 
Ancrum, Dr. John Armstrong, a now entirely unread poet, Kitty Fischer, 
a lady more celebrated for her beauty than for her virtue, the artist’s niece, 
Miss “Offie’ Palmer, and the Countess of Strafford. 

Two exceedingly attractive among other examples of Romney’s art will 
be found in this collection: Mrs. Drake, a member of a once famous and 
wealthy Norwich family, and Mrs. Uppleby. Both were painted in Rom- 
ney 's best time and each is of first rate quality. The latter portrait of an old 
lady is a brilliant piece of characterization, and either of these two portraits 


would be an ornament to any collection. Most of the best known contempo- 


raries of Reynolds and Romney are represented by examples of varying 
excellence. Raeburn’s Lord Craig and Mrs. Stewart Richardson are well- 
known examples of the greatest portrait painter which Scotland has yet pro- 
duced. Although the pictures by Benjamin West are not of the first rank, 
they have special interest to Americans. 

Sir Thomas Lawrence and Sir William Beechey, and the many artists 
who may be grouped around them, are well represented, some by unrecorded 
examples. The best known of the Lawrences is the “noble portrait,” as 
Boaden calls it, of “Kemble as Rollo,” which for a century formed part of the 
Peel Collection at Drayton Manor, and which ought to find a permanent 
home in some theatrical club or in the foyer of one of the theaters in the 
States. The portrait of Lady Harriet Vernon, catalogued under Beechey, is 
so much in the manner of Reynolds and so unlike any other Beechey known 
to the present writer that it is difficult to accept the present attribution with- 
out reserve. It is curious to note that whilst we have in this picture a por- 
trait of the youngest daughter of Thomas Earl of Strafford, we have in 
Reynolds’s Countess of Strafford the wife of William Earl of Strafford, 
both painted 1755-58, when the artist of one was a child. 

There are several interesting examples of Early English artists whose 
work is often found under better-selling-—because better known—names. 
For instance, the group by Mason Chamberlin of Mr. and Mrs. Hopkins, 
and the canal picture by F. W. Watts, which long passed as a Constable. 

Sir Martin A. Shee and George F. Watts (the former was born in 1769 
and the latter died in 1904 at the age of eighty-seven) furnish us with a 
continuity of over a century and a quarter, from Reynolds to our own day. 
By Shee we have a character portrait of Mrs. Kemble, and by Watts an 
exceedingly interesting group signed and dated 1837. This group is an im- 
portant “document” in the early artistic life of one of the greatest idealists 
of our time. In those early days, as his widow informs the present writer, 
Mr. Watts painted many portraits, but, so far, a search through his sketch- 
books has failed to identify the lady and her two children in this picture. 
Mrs. Watts also states that the size of the canvas on which he usually painted 
at the date of this picture was much smaller than this. Contemporary with 


both Shee and G. F. Watts, Sir David Wilkie is represented not only by 
two official portraits, but by a subject picture which very strongly appeals 

to American sentiment and is based upon a well-known passage in Wash- 
- ington Irving’s “Life” of Columbus. 

There are few pictures of the present, but they are all important, and, 
it may be added, all well known through frequent reproductions. We have 
a transcript of Ancient Rome in Alma-Tadema’s “Sculpture Gallery,” a 
scene of Jacobean England in Orchardson’s “Young Duke,” and what might 
well be a passage from the Mort d’Arthur or a verse from William Morris’s 
poems in Burne-Jones’s “Psyche’s Wedding.” 

My object in compiling this catalogue has been to describe the pic- 
tures under the names of the artists whom I believe to have painted them, 
irrespective of the names under which some of them have been purchased. 
In several instances it has not been possible to solve some of the problems 
which have arisen. But a fine picture remains a fine picture, to whomsoever 
it be attributed. ‘The practice which, for commercial reasons, has been so 
long in vogue, of fathering on Beechey and Harlow pictures below the 
standard of Hoppner and Lawrence, has caused a great amount of confusion, 
and even after the counterfeits have been separated from the genuine, other 
difficulties in the way of attribution arise. Many well-selected private collec- 
tions in the United States afford problems of this character, and some of 
these will not be settled until we possess a thoroughly comprehensive history 
of English art during the first fifty years of the last century. 


W. ROBERTS. 
Lonpon, November, 1914. 


Ble 


No. 120 


A. W. DEVIS © 
1763—1822 


PORTRAIT OF A LADY 


Wee Canvas: Height, 2934 inches; width;18°/y inches 

/ Eas ea 

SMALL whole length of a middle-aged lady, white dress with broad frilled 
‘pleats round shoulders, blue bow at neck, black broad waistband with blue 
bow; right hand holding large black high-crowned felt hat trimmed with blue 
bands and white feathers; powdered curly hair, long gold earrings. 


From an anonymous sale at Christie's, May 18, 1899, No. 116." 16 8-0-¢ 


No. 121 


JOHN OPIE, R.A. 
1761—1807 


THE YOUNG MUSICIAN 


| Canvas: Height, 28 inches; width, 28 »rches ; 

(7s Clty (Jur Og ite 
HA.r-FIGuRE of a peasant boy, standing, directed to left; green sl¢éveless 
waistcoat, white shirt open at neck, red breeches, black felt hat, dark long 
hair; playing on a red whistle which be is holdmg to his mouth with both 


hands; gray background. 


No 1228 
FRANCIS COTES, RA. 
1726—1770 , : Paty 


~ 


PORTRAIT OF A LADY 


if an Canvas : Height, 28 inches; ; 
Heap and shoulders, to front, looking to right, three-quarte 
dress with lace insertion, pearl and ruby brooch at center 
cloak trimmed with ermine; dark hair dressed high, with whi 
which the end falls over left shoulder ; pearl necklace and earring 
ground. | ; 


e 4 
i ae - 
reo! 


No. 123 


ALFRED EDWARD CHALON, R.A. 
1781—1860 


MRS. FAIRLIE AND CHILD Y ~ 
‘ oy Can 
ASO HS | Canvas: Height, 281% inches; width, 23144 inches 


Probably Louisa Fairlie (née Purves), wife of John Fairlie and niece of Lady 
Blessington; an authoress; died in 1843. 


THE mother, about thirty, seen to waist, seated in dull green covered chair, 
directed slightly to right, looking at spectator, full face; low white dress 
with jewel, bright scarlet jacket lined with white and fastened with red band 
at waist, black hair in curls, gold earrings and thin gold necklace; left arm 
around the child’s neck, ring on penultimate finger; golden-haired child in 
blue and white dress nestling close to her mother; dull gray background. 


Chalon exhibited a group of Mrs. Fairlie and her two children—an en- 
graved work—at the Royal Academy of 1834. The Mrs. Fairlie in the above 
picture is probably the same lady. 


No. 124 


SIR JOSHUA REYNOLDS, P.R.A. 
oe 


JOHN ARMSTRONG, M.D. 


= 


y 7S — Canvas: Height, 29 inches; widthy 24 inches 


Poet, physician and essayist; born at Castleton, N. B., in 1709; studied medi- 
cine at Edinburgh; physician to Hospital for wounded soldiers, London, 1746; 
to the army in Germany, 1760; traveled in Italy with Fuseli, 1771; an intimate 
friend of John Wilkes and Sir Joshua Reynolds; died September 7, 1779. 
His most famous work is a didactic poem entitled “The Art of Preserving 
Health,” 1744. 


Hap and shoulders of elderly man, directed and looking to right with cyni- 
cal expression, dark-brown coat, buttoned up, with double row of gold but- 
tons; white stock, gray-bottomed wig. 


From the Harper Collection, New York, April 20, 1911, 7? Jf : OSH Ha lactte. 


Dr. Armstrong sat to Reynolds in 1755-6, and again in 1767. The en- 
graved picture in which the coat is unbuttoned belongs to Mr. Burdett-Coutts. 


aa a eA la 


No. 125 


SIR THOMAS LAWRENCE, P. R.A. 
1769—1830 | 


FRANCIS MOUNTJOY MARTYN 
cast 


Canvas: Height, 28 inches; Pe 24 inches 
) 


Youngest son of Charles Fuller Martyn, of Calcutta; educated at Eton (1826) 
and ‘Trinity College, Oxford, where he matriculated October, 1827, aged 18; 
entered the 2nd Regt. of Life Guards, of which he became Colonel. 


Heap and shoulders of a young man, painted on entering his regiment; to 
front, looking to right; blue uniform with gold buttons and epaulettes, scarlet 
cloak across shoulders and held with left hand; brown curly hair; gray and 
blue background. 


: No. 126 
Sor BENJAMIN WEST, P.R.A. 
1738—1820 
MRS. WEST AND CHILD 
Boo eet Canvas: Height, 25 inches; length, 80 inches 


aN | y 
AN interior, the central figure in which is a small ee figure 0 
an oval-faced young lady of about twenty-five, seated on a red-dovered bench, 
in white dress, blue sash and white Oriental cap, sewing a yellow garment 
which rests on her lap; sleeping child in blue and white covered cot to left; 
in a doorway to right are seen elderly man and woman, tree and distant land- 
scape; grayish curtain background. 


Note: Probably intended to illustrate a Biblical scene, or one from a 
popular story, in which the artist has introduced his wife and child. 


4 
J 


No. 127 


GEORGE ROMNEY S| 
1802 


LADY GRANTHAM | : 


i 7 Pee Canvas: Height, 29 inches; vy 24 C tom | 
VY 


Ltr 19.49 


Mary Jemima, second daughter of sae a Earl of Hardwicke; born 
February 9, 1757; married August 17, 1780, Thomas, second Baron Gran- 
tham; died January 7, 18380. 


Hatr-ricure, middle age, directed to right, looking at spectator; blue low 
dress, corsage edged with white, brown overdress trimmed with fur; pow- 
dered hair dressed high with curl on neck, white head-dress; right hand ex- 
tended holding partly opened volume; blue curtain or cloak to left; dark 
background. 


Romney painted two portraits of Lady Grantham in 1780-1; the late 
Earl Cowper’s version is described in Ward and Robert’s “‘Romney,” p. 64, 
but the above is a later picture. Lady Grantham was also painted by Rey- 
nolds, Lawrence and Edridge. 


ee HX f ss 
3 te oo 
c 
ee No. 128 
Peal 


SIR JOSHUA REYNOLDS, P.R. A. 
Lys 1702 


SIR WALTER BLACKETT, BART. 


2 95 ‘> Canvas: Height, 291% inches; w oS. atthe wpches 
T/L ene OH 
Son of Sir Walter Calverley of Wallington; born in 708; assume aa 
name of Blackett in 1733; M.P. for Newcastle (to which place he was a oer, 


benefactor) in seven parliaments; died in 1777. 


HALF-FIGURE, age about sixty, to front, looking at spectator; dark-blue vel- 
vet coat and waistcoat edged with white; white stock; gray wig, dark back- 


ground. 
Sir Walter Blackett sat several times to Sir Joshua, in 1759, 1760, 1766 


and 1777. One whole length is at the Infirmary, Newcastle-on-Tyne, and an- 
other belongs to Sir George Trevelyan. 


No. 129 


TILLY KETTLE 
1740—1786 


PORTRAIT OF A LADY 


AST oe Canvas: Height, 28 inches; ste wches y 
fin ee, Ye 
Hatr length of middle-aged lady seated a reer TaN to Axpink 
patterned low dress with white insertion, short sleeves with broad white 
edging; dark hair dressed high with white and gold patterned head-dress; 
left arm resting on pedestal, hand against chin, wedding ring on penulti- 
mate finger, right arm on lap; sculptured wall and pillar background. 


Dated on pedestal to right: 1770. 


No. 130 


SIR JOSHUA REYNOLDS, P.R.A. 
1723—1792 


PORTRAIT OF THE ARTIST 


Lf Scat Canvas: Height, 29 eg G Webs 


Portrait of himself as an elderly man with large spectacles; ha 
front; dark-green coat with brown collar, white stock, gray curly wig. 


One of several versions of the well-known portrait. 


No. 131 


SIR JOSHUA REYNOLDS, P. R.A. 


17238—1792 
SIR ROBERT PALK, BART. aw Yes i ; 
( Macs \S PALNAcCe# 
‘ ( 2 Kr . 4 Vf LY A ey 
8 J 4, Ral Canvas: Height, 291% inches; width, 24144 inches ( 


Born about 1718, educated at Wadham College, Oxford; married in 1761, | 
Anne, daughter of Arthur Vansittart; Governor of Madras, 1763, M.P. for ; 
Ashburton and Wareham, 1767, 1774-87; created a Baronet June 19, 1782; 
died April 29, 1798, aged 81. 


H{ALF-FIGURE in an oval, directed to right, head slightly turned, looking at 
spectator three-quarter face; red coat with gold buttons and embroidered 
with gold bands, white neckerchief, gray wig. 


Collection: C. A. G. Palk, of Halden Hall, Exeter, March 18, 1913, No. 102. 4 
Reynolds painted two portraits of Sir Robert Palk, one in 1760 and the 


other in 1768; the above is the later of the two. 
Graves and Cronin’s “Reynolds,” 11., pp. 719-20. 


cf eee 


No. 132 


GEORGE ROMNEY (Period of): 


Latrrer Haur or tHe Eicureentu CEntTury 


DAPHNIS AND CHLOE 


Canvas: Height, 39 inches; length inches 
Se hLn ( IOS Meret h_ 


A SYLVAN scene with two youthful figures seated near a clump of tall over- 
hanging trees. Chloe in pink and rose draperies, fair hair bound with blue 
ribbon, is holding in her left hand her quenouille or distaff. Daphnis, in blue 
and white draperies, is seated at her feet and is leaning against her, playing 
on his pipe; to right two sheep are seen, to left a winding road with figures 
and trees. 


From the Sedelmeyer sale, Paris, May, 1907, No. 153 (illustrated in the 
sale catalogue) - £ rs. A500 


INO: 133 


FRANCIS COTES, R.A. 
1726—1770 


PORTRAIT OF THE DUCHESS OF MARLBOROUGH (7?) 


° “5 gal Canvas: Height, 30 inches; width, 24 imehes 
Hatr-ricure of a lady about twenty-five, standing to front, looking at/spec- 
tator; dark patterned dress cut square at neck, trimmed with laces short 
sleeves with elaborate lace edgings and pearl ornaments, bluish overmantle 
with lace; necklace of many rows; fair hair dressed flat with flowers in center ; 
left arm resting on pedestal (on which is an indecipherable signature), 
hand holding end of bodice; gray background. 


No. 134 


SIR JOSHUA REYNOLDS, P-.R.A. 
1725-179? 


FELINA 


| rs Canvas: Height, 80 inches; width, onch 


Neary whole-length figure of a little red-haired girl in white dress, crouch- 
ing on the ground by the side of a tree, holding a kitten in her arms. 


A version of the Earl of Normanton’s engraved picture. 


No. 135 


SIR THOMAS LAWRENCE, P.R.A. (Period of) 
7 1769—1830 . 


THE COUNTESS OF GALLOWAY f 
3 oO Canvas: Height, 86 inches; width, 28 inches 


Jane, daughter of Henry, first Earl of Uxbridge; born September 1, 1774; 
married April 18, 1797, Admiral George Stewart, who succeeded his father as 
eighth Earl of Galloway in 1806; died June 30, 1842. 


HALr-FiGure#, about forty, seated to front, looking at spectator full face with 
smiling expression, head slightly inclined to left; dark-brown V-shaped low 
dress trimmed with blue and edged with white; brown curly hair, lace head- 
dress with long white satin streamers which fall over left shoulder and are 
held by right hand, left arm resting on blue-covered table, ring on penulti- 
mate finger; greenish background with brown curtain to right. 


Collection: Earl of Galloway. 


id 
| 
aa 
| 
| 


No. 136 


RICHARD COSWAY, R.A. 
1740—1821 


PORTRAIT OF LADY WENTWORTH 


ie Canvas : Height, 42 inches; width, 33 inches 

THREE-QUARTER length, age about twenty-five, seated near a balcony on 
plain wood chair, directed to right and looking at spectator, low black dress 
trimmed with white lace, white bodice and fichu, large white apron; powdered 
curly hair with band of black ribbon, white feather aigrette, black earrings, 
long gold necklace with miniature of a gentleman set in pearls as pendant; 
short gold chain with gold watch at waist; extended fan held by both hands, 
volume on brown table to right; trees in distance to right. 


No. 137 


JOHN DOWNMAN, A.R.A. 
| 1750—1824 
PORTRAIT OF MRS. MAIR 


Canvas: Height, 44 inches; width, 34 imches 


a FES 
THREE-QUARTER length of a lady about thirty, seated i canoe open 


window, directed and looking to right; white low dress and loose fichu, brown- 
ish cloak across shoulders, powdered hair dressed high, bound with pear! 
ropes and green ribbon; both hands holding leaves of a volume which rests 
on table partly covered with green cloth, and on which also are seen a por- 
celain vase, scissors, etc.; background, red curtain and trees. 


Signed and dated in lower right hand corner: J. Downman Pryxt 
17— (last two figures indistinct). 


No. 138 


HENRY R. MORLAND 
Circa 1730—1797 


| MRS. THORNTON, AN ARTIST C7. 2 JA g 
a aes Canvas: Height, 461% inches; width, 361% inches S 
THREE-QUARTER length, age about thirty, standing to front and looking at 
spectator; white low dress, short sleeves, pink bodice, white lace crossover, 
broad pink neck ribbon; fair hair dressed flat, white lace bonnet with pink 
ribbon bow at center; to left an easel on which is a picture of a landscape 


with river; right hand holding paint brush and resting on picture on easel, 
left hand holding palette, brushes and mahl-stick; gray background. 


i Tat Sas = sa, oe = : : - 
if i :. ‘ Se 4 
4£ a . Us - 4 Lae Be 4 i= ‘ 
~ agit) i a » 7 —— — _— — 5 


No. 139 
JOHN OPIE, R.A. ' 
1761—1807 7 
MUSIDORA a 


3 Canvas: Height, 47 inches; width, 30 inches 
Like ES fnceer 
Neary whole-length figure of a young woman seated, directed to front 


and looking down; white loose robe, right arm and bosom bare, light-blue 


A \ 

q > as. ite? 
7 al et * ight [Or a 
NE 1 


cloak across left arm and lap; abundant brown hair bound with ribbon, 4 
left hand holding red drapery. | 


No. 140 


WILLIAM DOBSON 


1610—1646 
THE MISSES VENABLES & ; vf, 
Gros 0. a Canvas: Height, 411% inches; length, 4516 inches 


P. anpD M. VenasiEs. Whole-length figures of two fair-haired children about 
four or five, to front, in long white satin dresses trimmed with lace and yellow 
ribbons, each with a narrow gold neck chain and pendant; the younger child 
with lace bonnet and holding her sister’s hand; a pet dog is jumping up by 
the side of the elder. 


Formerly ascribed to Van Dyck, according to a paper pasted on the 
back of the picture. 


No. 141 


Sik MARTIN ARCHER SHEE, P.R.A. 
1769—1850 


PORTRAIT OF A LADY 


ol SY oo Canvas: Height, 49 inches; width, 38 Paine 
THREE-QUARTER length, about twenty, walking in a landscape to left, lobking 
at spectator; white low dress with loosely fastened blue corsage, short sleeves, 
pearl necklace; brown curly hair, large white straw sun hat garnished with 
flowers and flowing blue ribbons; rustic basket filled with flowers on left 
arm; background, trees and distant hilly landscape to left. 


No. 142 


GEORGE HENRY HARLOW 
1787—1819 


MRS. RICHARDSON AND CHILDREN 


oe Canvas: Height, 49 inches; width, 39 inche 

pat Ce 
Group of five figures, the mother, aged about thirty, and her four children 
all in white dresses, ranging from an infant of a year old upwards, the oldes 
seven or eight. Mrs. Richardson, seated looking at spectator and holding 
the two youngest children on her lap, is in blue low dress, short sleeves 
trimmed with lace, white frilled collar, ruby brooch, pearl necklace and 
small earrings; brown curly hair with pearl ornament, pearl bracelet on left | 
arm and rings on fingers of both hands. ‘The elder child by her side and | 
clasping the infant, the second child standing behind its mother; both are au- 4 
burn-haired, and the three eldest wear coral necklaces; distant landscape with 
hills and flowering rose-trees to left, green patterned curtain overhead and 
to right. 


6 


6, 


No. 148 


FRANCIS COTES, R.A. 
1726—1770 


PORTRAIT OF MRS. JONES (AFTERWARDS WALLEY) 


ae Canvas: Height, 49 inches; width, 39 inches 
a moa V) (F- kG 
Yathonr lr 
Maria Kenyon of Scarborough, married first, Robert Jones of Liverpool { by : 
-whom she had two children, Robert and Mary) ; and secondly, Joseph Walley. 


THREE-QUARTER length of a young lady, twenty-five to thirty, seated near 
a baleony, directed to left and looking at spectator; old-gold low dress 
with sleeves to elbows trimmed with white lace, white lace fichu with light- 
blue ribbons; powdered curly hair, white cap with broad band passing 
around throat; right arm on balcony, hand holding gold-mounted miniature 
with black ribbon suspender; to left on balcony rests a thin gray-covered vol- 
ume; pillar, blue curtain and sky background. 


This excellent portrait came from an anonymous sale at Christie’s, May 
4, 1907, when it was catalogued as “Early English.” Its attribution to Cotes 
is not altogether convincing, as the style of dress would suggest the late 
80’s of the eighteenth century, and some years after Cotes’s death. 


No. 144 


JOSEPH HIGHMORE 
1692—1780 


MRS. PRITCHARD, THE ACTRESS 


Se fea ees Canvas: Height, 49 inches; width, 39 " 2 | 
Gs Nei v ye yp 
2 veg t 


Hannah Vaughan, born in 1711, married a poor actor named Pritchard, ap- ( 
peared at the Haymarket Court in 1738, and at Drury Lane 1734-40; the 
greatest Lady Macbeth of her day and sustained many other leading charac- 
ters; died in 1768. 


NEARLY whole length, age about fifty, seated on a red high-backed settee, to 
front, looking at spectator; gray-patterned dress with short frilled sleeves, 
white low bodice with two yellow bands and pearl square buckles, yellow 
waistband from which depends chain with gold watch and ruby seal; gray 
hair, white cap, black lace scarf around head, the ends falling over bosom, 
pearl earrings; right elbow on arm of chair, hand resting against forehead, 
rings on last two fingers, left hand on lap holding partly a book, rings 
on first and second fingers. 


Exhibited: Guildhall, London, 1902, No. 56 (C. Butler). 


Collections and sale: W. Twopenny, 1874; and Charles Butler, May 26, 1911, 


No. 149: $F —10- 0. Yobaet nen, q 


On the back of the canvas is pasted a piece of paper with the following 
inscription: **Portrait of Mrs. Pritchard the actress by W. Hogarth, Bot of 
W. B. Tiffin in 1858. There is a portrait of her by Hogarth, head and shoul- 
ders only, exactly lke this at Lord Talbot de Malahide’s in Ireland.” The 
above is probably the portrait of Mrs. Pritchard sold i in the Campbell Sale at 
Christie’s in 1867 as by Hogarth: 57-4 I~ oO [03 


_ 


4% 


No. 145 


SIR THOMAS LAWRENCE, P.R.A. (2) 


1769—1830 
MR. LAMBERT 
y, 7 cons ce Canvas: Height, 49 inches; wadth, 39 Be. 


Probably James Staunton, of Watervale, born March 5, 1789; J.P. | 
High Sheriff, 1813, and M.P. for Co. Galway from 1826 to 1833), Liberal 
Conservative “‘most conscientious in the discharge of every duty”; died July 
1, 1867. 


THREE-QUARTER length figure of a middle-aged gentleman, standing, di- 
rected to left, looking at spectator; black frock coat, dark breeches, red plush 
waistcoat, white turned-down collar with black stock, long gold chain; dark 
hair, grayish side whiskers; right hand holding scroll inscribed “Public Ac- 
counts,” and resting on two volumes respectively labeled “Reports on Ire- 
land” and “Commons Vol. XIII,” on which rests red dispatch case; to right 
red armchair and old-gold curtain, to left stone pillar with distant view. 


This portrait, which came from Castle Lambert, in Ireland, was painted 
in the thirties of the last century, and is probably the work of an Irish portrait 
painter. It is too late for Lawrence. 


) No. 146 


THOMAS PHILLIPS, R.A. 
1770—1845 


as R, PO 
PORTRAIT OF A LADY x 


Canvas: Height, 49 inches; width, 39 inches 


THREE-QUARTER length of middle-aged lady, standing directed to front, — 
head turned and looking to right; blue velvet low dress cut square, short 
sleeves trimmed with old gold, blue cloak over shoulders and around arms, 
white lace corsage, old-gold waistband with large ruby in center, pearl neck- 
lace and drop pearl earrings; white turban head-dress with pearl rope, ruby 
and pearl bracelets and rings; scarlet tablecloth to right, brown background. 


No. 147 


MASON CHAMBERLIN, R.A. 
Diep 1n 1787 


PORTRAITS OF MR. AND MRS. HOPKINS 


ont7 ~ Canvas: Height, 40 inches; BE 50 ae 
Arr, Vr ards 

Benjamin Bond Hopkins, of Pain’s Hill, Surrey, son of Benjamin Bond of 
Leadenhall Street, London, a Turkey merchant (who inherited the estates of 
“Vulture” Hawkins and assumed that surname); married as his second wife, 
May 20, 1773, Mary, daughter of Captain Tomkins of Downing Street, Lon- 
don; died January 30, 1794, aged 48. Mrs. Hopkins, a literary lady who 
translated several parts of the Bible, separated from her husband about a year 
after their marriage, and died September 27, 1788. For a further account 
see Gentleman’s Magazine, February, 1794, pp. 183-4. 


Two half-length figures seated in a landscape facing each other. Mr. Hop- 
kins in blue coat and waistcoat embroidered with gold and with lace neck- 
erchief, lace cuffs, wig. Mrs. Hopkins in pink dress with short sleeves, lace 
fichu and pear! necklace, earrings and bracelets, playing a guitar, her husband 
holding a music book; spray of flowers at center of corsage; trees and 
shrubs in background. 


Collection: Mrs. Henshaw Russell, 1907. 


¥ or : 
af) \ 12 AN 
| w 


No. 148 


SIR EDWARD BURNE-JONES, A.R.A., D.C.L. 
1833—1898 


PSYCHE’S WEDDING | £ + , | 
— e rs) to Canvas: Height, 46 inches; length, 84 wnches 4 . ! 


A PROCESSION of nine blue-clad maidens and an old man pass across the 
foreground to the right, the girlish Psyche in gray in the center; the girls 
in front strew flowers as they go, while those behind play musical instru- 
ments; in the distance a river and low hills. 


Signed with initials and dated in left hand corner: EK. B. J., 1895. 


Exhibited: New Gallery, 1899 (A. Tooth & Sons), and Burlington House, 
London, 1909 (G. McCulloch). 


Collection and sale: George McCulloch, Christie’s, May 29, 1913; bee 
for Mr. Blakeslee: 7° U9: Alea M0 Z. Wa 


Etched by F. Jasinski, 25 by 18% inches; 1901. 


PAgeee Bice etal? 
4 Py ak ae Pe 


No. 149 


JACOB HOUSMAN (or HUYSMANS) 
Circa 1633—1696 


MRS. BLOUNT BB. ay, ee, 


ce et Canvas: Height, 52 inches; width, 351% inches 


THREE-QUARTER length, in a landscape, walking to right and looking at 
spectator; old-gold shot-silk low dress edged with white and fastened in 
front with pearl buttons, short sleeves with broad white trimming, brown- 
ish gray cloak around shoulders fastened with small brooch; brown curly 
hair with pearl ornament; pearl necklace and drop earrings, waistband of 
large blue-glass beads; right hand holding fold of dress, left hand extended 
and holding a sheet of music; to left trees and blue sky, clouds and dis- 
tant view of building to right. 

Inscribed to left in gold letters: Mrs. Buount. 


No. 150 


Sik WILLIAM BEECHEY, B.A. 
1753—1839 


ADMIRAL BRIDPORT, K.B. 


Canvas: Height, 50 inches; width, 40 ues 


Alexander, second son of the Rev. Samuel Hood, younger brother of Admiral 
Samuel Viscount Hood; born in 1724; entered the Navy; rear-admir ‘in 
1780; K.B., 1788; created Baron Bridport 1794, Viscount 1800; died May 3, 


1814. 


THREE-QUARTER length, standing to front looking to right, in naval uniform, 
blue coat with star of an order and gold chain with pendant, white waist- 
coat and breeches; gray hair; right hand holding sword. 


No. 151 


WILLIAM DOBSON (after VAN DYCK) 
Cee 1610—1646 


THE EARL OF PORTLAND 
One Vat Merk fl 


Canvas: Height, 52 inches; width, 39 inches 


Richard Weston, the statesman; born in 1577; M.P. for various constituencies 
from 1601 to 1626; knighted 1603; Chancellor of the Exchequer 1621; created 
Baron Weston, 1628; Lord High Treasurer 1628-33; created Earl of Port- 
land 16838; died in 1635. 


THREE-QUARTER length of elderly man, standing to front, looking to right; 
black dress with pearl fastener, white reflected cuffs and elaborately gauf- 
fered broad ruff, broad blue band suspended from neck with locket pen- 
dant; blue cloak over shoulders, right arm resting on ledge of pedestal, 
the ungloved hand holding open document, left hand gloved and holding 
wand of office; gray hair, pointed beard; background, brown curtain and 
stone pillar. 


A copy of the Van Dyck portrait engraved by Hollard and described in Smith’s 
“Catalogue Raisonné” No. 575. 


No. 152 


MRS. MARIA COSWAY 


1759—1888 
LADY SEATED AT A PIANO ot, Ee fe 
Wee ij a cmome . Canvas: Height, 50 inches; width, 40 inches 


THREE-QUARTER length figure of a young woman, about twenty-five, seated 
at an open rosewood piano or spinet, in white low dress with broad gray 
sash, fair hair bound with white, black felt hat with large black feather; 
right arm resting on piece of open music on piano and turning over a page 
with her fingers; left arm on lap, tips of fingers on keyboard; trees in back- 
ground with distant view to left. 


No. 153 


SIR GODFREY KNELLER 
3 1648—1723 


PORTRAIT OF A MAN (Ott; ‘e 7 
c 


Err, 0 we Canvas: Height, 50 inches; width, 40 inches 


THREE-QUARTER length of a young man, standing to front; red coat with 
gold buttons and white sleeves, gold-embroidered waistcoat, white necker- 
chief; flowing brown wig, black felt hat in right hand, left hand inserted in 
opening of coat; stone balcony with distant landscape to left. 


From an anonymous sale at Christie’s, July 12, 1912, No. 11, when wt was , 
described as a portrait of George, Prince of Wales: Be ee fh halon, 


No. 154 
SIR PETER LELY 


1617—1681 
DUCHESS OF RICHMOND (‘LA EES Oe We 
216 ‘t Canvas: Height, 50 inches; width, 40 oe 


Frances Teresa Stuart, granddaughter of first Lord Blantyre; born in France 
in 1647, maid of honor to Queen Catherine; mistress of Charles Il; married 
the Duke of Richmond; a famous beauty, and probably the original of the 
figure of Britannia on the copper coinage; died in 1702. 


THREE-QUARTER length, age about thirty; seated near a balcony, directed to 
left, looking at spectator; scarlet low dress with short white full sleeves, blue 
mantle across waist and over knees, Jeweled brooch at center of corsage; fair 
curly hair; large, broad-brimmed black felt hat with white feathers; end of 
narrow brown shawl held with left hand, tassel of blue cloak in right; earth-— 
enware jar with flowers to left, blue curtain to right. 


Inscribed in right hand lower corner: DucuEss or RicHmMonp. 


From an anonymous collection sold at Christie’s, July 12, 1912, No. 8: 33- 12-( Th Me 


No. 155 
ALLAN RAMSAY 
1713—1784 
PORTRAIT OF A LADY ee ee 
/)s5 Canvas: Height, 50 inches; width, 40 mohes 


THREE-QUARTER length, age about fifty, standing to front, looking at spec- 
tator; white satin low dress, short sleeves edged with broad white frills; 
white muslin fichu, black scarf across shoulders and linked at center of cor- 
sage with pearl fastener; three-row pearl necklace, powdered hair dressed 
high, right hand with gold and ruby chain, left hand holding miniature pen- 
dant with a man in blue dress; sculptured alcove and pillar background. 


Collection and sale: Sir Walter Bartellot, of Stopham House Pulborough, 
Sussex, June 19, 1911, No. 150." 148 y-0 Vf, Mpa: 


No. 156 


SIR PETER LELY 
1617—1681 


ee Tae pe 


THE PRINCE AND PRINCESS OF ORANGE 


Canvas: Height, 69 inches; width, 53 inches 


Wilham II of Nassau, Stadtholder of the Netherlands; born in 1627. Suc- 
ceeded his father in May, 1647, as William II, Prince of Orange; died at The 
Hague in 1650. 

Mary, daughter of Charles I of England; born in November, 1631; married, 
May 2, 1648, the above Prince of Orange; died in September, 1660. 


Two seated figures to front on a balcony. To right the Prince in black 
robes, with broad white cuffs, scarlet band showing under cloak, white cravat, 
right hand holding fold of cloak, left on hilt of sword. ‘To left the Princess 
in rich brown dress with lace insertion, short sleeves with broad white trim- 
ming, blue cloak around back and on lap; pear! necklace and earrings, dark 
hair; right hand holding spray of orange plant with fruit, left hand holding 
pomegranate; red curtain to left, landscape in the distance. 


From a collection of historical portraits (formed about 1860-70), at Christie's Seay 
“the property of a gentleman,” November 19, 1910, No. 81: ZU-U-0C Gy 


wy & WAM 


*\ 


No. 157 


SIR JOHN WATSON GORDON, R.A. and P.RS.A. 
1790—1864 


/ ORS Sf " 1 
THE MACKENZIE CHILDREN 7V- VV- Lavra Ugew 


Group of three children near a balcony; the elder boy of five or six in Scotch 
kilts with white waistcoat, white socks and black shoes, standing by a large- 
arm high-backed chair, on which are seated his younger brother in brownish- 
red dress and white lace collar and his sister in white dress and blue apron; 
she is holding flowers in her left hand, other flowers are on nen lap and on the 
ground; pillar and green curtain background. 


~ iin ein ar a tan pent itera ne es rena lp © 58 Ai aa cen em mance a el cum ars eae ~ 


Canvas: Height, 63 inches; width, 46 inches 


No. 158 


SIR WILLIAM BEECHEY, R.A. (Ascribed to) 
1753—1839 


THE STAR Gi a 5 
cal Lae 
of] tgs Canvas: Height, 86 inches; width, 51 inches ee as 


W HOLE-LENGTH, life-size figure of a young woman about twenty, emblemati- 
cal of the Star, floating in mid-air, in dark-brown dress with jeweled star over 
forehead; brown hair; right arm upraised, hand over head, left arm ex- 
tended holding in hand a phial from which incense is pouring; flowering 
plant to right. 


No. 159 


FRANCIS WHEATLEY, R.A. 
1747—1801 


PORTRAIT OF A LADY \ ry 
& Ca WW Pardee 
[docs 
poe $d Canvas: Height, 87 inches; width, 56 inches 


WHOLE-LENGTH, life-size, about twenty-five, walking in a wooded landscape, 
white low dress, short sleeves, blue sash, right hand carrying straw bonnet 
with blue bows, left hand extended; fair curly hair. 


No. 160 


WILLIAM DOBSON (after VAN DYCK) 
1610—1646 


aa FE ff 


LORD JOHN AND LORD BERNARD STUAR 
Canvas: Height, 85 inches; width, 48 inches 


Sons of Esme, third Duke of Lenox. Two whole-length, life-size figures, 
standing in front of a pillar and blue curtain; the younger brother to front 
and looking to left, scarlet dress, brown cloak, leather top boots; fair curly 
hair. The elder brother to right, back to spectator, head turned, looking 
to front, white satin dress, stockings and shoes, blue cloak over left shoulder, 
gold hilt of sword partly covered by cloak; fair, long, curly hair. 


A copy of Van Dyck’s famous picture, which for generations belonged to the 
Earl of Darnley at Cobham Hall, but which was sold by private treaty 
mm 1912. 


No. 161 
JOHN SINGLETON COPLEY, R.A. 
+o. 1872-1815 | 
BATTLE OF DUNKIRK (September, 1796) Y 7, 
eee) i 0-4 Canvas: Height, 59 inches; length, 94 nti 


_A BATTLE scene under the walls of Dunkirk with numerous figures, masses of 
red-coated soldiers on the right are pressing home a bayonet charge against 
blue coats, fallen and wounded soldiers are seen on both sides; in the center 
a fallen officer in yellow coat with red facings, white waistcoat and breeches, 
is surrendering his sword to a soldier. 


Painted in 1800. 


No. 162 


BENJAMIN WEST, P.R.A. 


1738—1820 
CONVERSION OF ST. PAUL ie WAX : 
poo ee ‘s Canvas: Height, 68 inches; length, 104 inches 


A Broad, hilly landscape, with towers, aqueduct and building in the middle 
distance; the foreground occupied with a large company of civilians and 
soldiers in medieval costumes; to left a group of travelers with St. Paul m 
red dress and white head-covering and hands upraised as in supplication; 
dark masses of trees and rocks to right and left. 


From the Torre Abbey Collection, and sold at Christie’s, February 26, 1859, 
No. 73: £39-4-0 (Kayte, ) 
a3 4 | es | Ge 
Note: ‘This is doubtless *‘The Conversion of St. Paul, a finished sketch 
for the painted window in St. Paul’s Church, Birmingham,” exhibited at the 


Royal Academy, 1791, No. 426. Another sketch for the same picture was 
exhibited at the Royal Academy of 1801, No. 80. 


No. 163 


BENJAMIN WEST, P.R.A. 
1738—1820 


DEATH OF HY ACINTHUS 


r/ B/S: ace Canvas: Height, 89 inches; Ws Or 


The story is taken from Ovid’s ‘‘Metamorphoses,” Book x. Hyagcinthus, a 
son of Amyclas and Diomede, greatly beloved by Apollo and Zephyrus. He 
returned the former’s love, and Zephyrus, incensed at his coldness and indif- 
ference, resolved to punish his rival. As Apollo, who was entrusted with the 
education of Hyacinthus, once played at quoits with his pupil, Zephyrus blew 
the quoit, as soon as it was thrown by Apollo, upon the head of Hyacinthus, 
and he was killed by the blow. Apollo was so disconsolate at the death of 
Hyacinthus that he changed his blood into a flower which bore his name, and 
placed his body among the constellations. 


Two whole-length life-size figures in a rocky landscape; Hyacinthus, clad 
only in a white cloak attached by a narrow band over left shoulder, is dying, 
and is supported by Apollo in flowing dark-red drapery, his right around 
his waist, the left hand resting gently on the forehead; two cupids floating 
in the air to left. 


Signed and dated in lower left hand corner: B. West, pinxit, 1771. 


Exhibited: Royal Academy, 1772, No. 273. The companion picture of “Juno 
recevving the Cestus from Venus,” exhibited in the same year, was also 
acquired in recent years by Mr. Blakeslee and is now in an American 
collection. 


Aye 


an en 


Cota 


THIRD AND LAST NIGHT’S SA: 
FRIDAY, APRIL 23, 1915 
IN THE GRAND BALLROOM a 


Pv 
3 - 


2 OF 
THE PLAZA ¥ 
FIFTH AVENUE, 58th to 59th STREET oa aaa 
BEGINNING PROMPTLY AT 8.15 0’ CLOCK Rie 


mr. ¢ 
5 ie 
a ‘.-e 4 


No. 164 


JOHN OPIE, R.A. 
1761—1807 


PORTRAIT OF A BOY 
) 3 Loa 


3SU — Canvas: Height, 24 inches; width, 1914 inches 


Heap and shoulders, to front, yellow dress with white collar; portfolio under 
left arm; long golden hair. 


No. 165 


Sikh THOMAS LAWRENCE, P.R.A. 
1769—1830 


THE COUNTESS OF ESSEX L. GES g Loe 
7 / 5° Canvas: Height, 21 inches; width, 171% inches 


Catherine Stephens, vocalist and actress, daughter of a carver and gilder; born 
in London in 1794; appeared at Covent Garden in 1813 as Mundane in “Ar- 
taxerxes,” acted Polly in ‘The Beggars’ Opera,” etc.; said to have had the 
sweetest soprano voice of the time; retired in 1885; married in 1888 the fifth 


Earl of Essex; died in 1882. 


Heap and shoulders of a beautiful young woman about twenty-five, directed 
to front and looking to right; scarlet low dress trimmed with white; black 
curly hair with white band, pearl drop earrings; grayish background. 


No. 166 Re 
be ; = 2% aS 


SIR THOMAS LAWRENCE, P.R.A. 
1769—1830 Se 


7. 71 
a 7 Raion Canvas: Height, 1714 inches; width, 13 inches ee : . 


yr 


HEAD OF A GIRL 


Hazan and shoulders of a pretty child of about three or four, looking | 
spectator full face; white low dress with purple waistband; brown hair; bh 
background. 3 ‘ ¥ d 


From an anonymous sale at Christie’s, June 7, 1912, Ne Vee 14 a 2 D-0 4 bis 


1 


No. 167 


GEORGE ROMNEY 
1734—1802 


LADY HAMILTON AS ee cee : GO Pe 
/ hoes oe Canvas: Height, 18 inches; width, ae, 


Heap and shoulders, directed to right, head leaning to left, looking up with 
open-mouthed grieved expression; long auburn hair falling over shoulders, 


bare arms, white light drapery over shoulders. 


From an anonymous sale at Christie’s, June 18, 1913, No. 115- MF - U-0 A Nefbernun 


ig ame 
} 
: on 
ae 
a8 
a 
Be 
Wela 


_ JOHN HOPPN ER, RAS 
ae 1758—1810 ae 


PORTRAIT OF LADY CAMPBELL | ae 

LL ys O77 *! Canvas: Height, 24 onches; ne 20 inches me = 
Hxap and shoulders of an attractive-looking lady about tw 
and looking to right, white semi-low dress, brownish waistbé 
curly hair with white turban-like broad band; red curtain bac 


From the collection of Lady Sassoon. | i Tag € A. 


os No. 169 


g 4 S GEORGE HENRY HARLOW 


Miyia Wicd bey EY 


PORTRAIT OF A LADY WITH RED HAT 


re Ree Canvas: Height, 28 inches; width, 23 inches 


HALrF-FIGURE of young lady about Seniesa to Pann Qaarae front, in gray low 
V-shaped dress bordered with old gold, white chemisette, red patterned 
belt; large broad-brimmed red velvet hat, black hair falling in curls over neck 
and forehead; left arm resting on a volume and holding another in hand. 


No. 170 


(yu SIR PETER LELY 
1618—1680 


THE DUCHESS OF CLEVELAND 


Canvas: Height, 28 inches; wi le sae Sy 
2 rs : lo ONV% 


Barbara, daughter of William Villiers, ae Viscount Grandison, born in 
1641; married Roger Palmer, Earl of Castlemaine; Lady of the Bedchamber 
to Queen Catherine; notorious for her amours and trafficking in state ap- 
pointments; mistress of Charles II, who created her Duchess of Cleveland in 


1670; died in 1709. Frequently painted by Lely. 


HAtr-FicurF, about thirty, seated to front, head inclined to left and sup- 
ported by right hand, elbow on red-covered table; grayish low dress trimmed 
with lace and garnished with rope of pearls, short sleeves with full white 
cuffs, white-lined black cloak to left; pearl necklace and earrings; brown 
hair falling over right shoulder; brown curtain background. 


No. 171 


JOHN CONSTABLE, R.A. 
1776—1837 


HAMPSTEAD HEATH 


2760 « Canvas: Height, 24 inches; length, “Coe OY, ‘ 


Broapd sweeping view of the State bis. row of trees in center; to right high} 
hill with square white house with smoking chimney, and cows on the hori- | 
zon to right; the foreground to right, cart and two horses at the entrance to — 
a gravel pit; pool, with donkey and driver, in center. 


This is a variant of the Sheepsbans picture etched by David Lucas and 
as plate 22 in “English Landscape Scenery,” 1855. | 


a . Se Now Ly2 


JOHN OPIE, R.A. 
1761—1807 


GOING TO SCHOOL 


1S ia Canvas: Height, 28 eed Law lle 


HAtr-Fricures of two children in the open; the elder, a girl in green low dress 
with patterned crossover and white mob cap with blue band, satchel hanging 
on gloved right hand. She is holding the right hand of a curly brown-haired 
boy who is dressed in dark-brown jacket with white open collar and dark 
felt hat; he is holding a book in the left hand; blue sky and tree background. 


Collection: The late Capt. Warner of Leicestershire. 


| ee No. 173 


GEORGE HENRY HARLOW 
1787—1819 


GROUP OF TWO CHILDREN 


/ OS - Canvas: Height, 29 inches; width, 24 inches 

Two young, fair-haired girls, seated to front in an open landscape, white low 
_ dresses, the elder with red coral necklace looking up to left and holding a 
robin in her hands; the younger looking at spectator, her right hand on her 
sister’s shoulder; background, autumnal trees and sky. 


Purchased from an anonymous sale at Christie’s, May 15, 1918, No. 149, when 
. 9 66 99 44 S 
it was ascribed to “Lawrence. a ok, ti Vo 0 ADI Y, 


Cae -_ 
F i SN Oa a ly Ae | 


SIR JOSHUA REYNOLDS, P.R.A. 
te 


MISS THEOPHILA PALMER 


Canvas: Height, 29 inches; dhe 24 jaches 


/ Pe re oe + ae | 
“Offie,” second daughter of John Palmer, of Torrington, Devon, and the Ph) | 
orite niece of Sir Joshua; born in 1756; married in January, 1783, Robert — 


Lovell Gwatkin, of Plymouth; died at Bideford, Devon, July 5, 1848. a 


HALr-ricureE, age about thirty, to front, head slightly inclined over right —_ 

shoulder, looking to left; dark dress with short sleeves, trimmed with white, 4 

white fichu, narrow black neck ribbon tied in a bow; dark hat trimmed with _ 

blue ribbon and with white ostrich feathers; right arm leaning on table. 
Ad poo 

Purchased from the Palmer family and sold by Messrs. Agnew to Mr. Blakeslee. | 


q 50 No. 175 


WILLIAM HOGARTH 


2 1697—1764 
eee /| te WWr0- WG 
PORTRAIT OF PEG WOFFKFINGTON 


Canvas: Height, 29 inches; width, 24 inches 


The famous actress often painted by Hogarth. A bricklayer’s daughter, born 
in Dublin, October 18, 1720; acted on the Dublin stage from the age of seven- 
teen to twenty; appeared at Covent Garden in 1740, and was for many years 
the leading British actress, as famous for her beauty and coquetry as for her 


talents on the stage, from which she retired in May, 1757; died March 28, 
1760. 


Har-Fricure of the actress when about thirty, in an oval, directed to left and 
looking at spectator; grayish bodice, white fichu with pink ribbon bow at cen- 
ter of corsage, brown hair, white lace tight-fitting cap fastened under chin 
with pink ribbons. 


From an anonymous sale at Christie’s, June 22, 1908, No. 97. 


[ g? No. 176 


SIR THOMAS LAWRENCE, P.R.A. 
1769—1830 


STR THOMAS BUCKLER LETHBRIDGEH, BART 
( O70 ae Canvas: Height, 29 inches; width, 24 eee =. pray Py 


Son of John Lethbridge, Esq., who was created a Baronet of Sandhill, Somer- 
setshire, in 1804; born in February, 1778; M.P. for Somersetshire 1806-12, 
1820-30; Colonel of the second Somerset Militia; succeeded his father in 1815; 
died October 17, 1849. 


Hatr-ricure, age about forty, to front, looking to right, grayish military 
coat fastened, embroidered with gold stripes across chest, scarlet collar, gold 
epaulettes, black stock; fair, straggling hair, dark background. 


Described in Sir Walter Armstrong’s “Sir Thomas Lawrence,” 19138, p. 146. 


From the family. 


No. 177 


SIR JOSHUA REYNOLDS, P.R.A. 
17238—1792 


MRS. MUSDELS AS “HEBE” 


S ( JO ‘— Canvas: Wen 29 ec ee 24 inches 


Sophia Catherine, daughter of James Modyford Heywood, rade Marston, Dae a 
married, in 1776, John Musters of Colwick Hall, Notts; died in 1819. She 
is described by Miss Burney in 1779 as “the present pea: whose remains our | 
children may talk of, the reigning toast of the season.” She frequently son 
to Sir Joshua from 1777 to 1782. 


Heap and shoulders, aged twenty-five to thirty, directed to right; looking at 
spectator full face; flowing pinkish dress with white chemisette and short _ 
sleeves; right hand holding reddish jug; brown wind-blown hair with blue q : 
and gold band; blue-gray background. . 
Col \S00 
The engraved whole-length portrait of Mrs. Musters as “Hebe,” painted 
circa 1782, is in the Iveagh Collection. 


9 


No. 178 
Sik JOSHUA REYNOLDS, P.R.A. 
1723—1792 
COUNTESS OF STRAFFORD 
700 — Canvas: Height, 29 inches; width, 24 inches 


Lady Anne Campbell, second daughter of John, second Duke of Argyle; born 
in 1715, married April 28, 1741, William Wentworth, Earl of Strafford (a 
title created in 1711 by Queen Anne and extinct in 1799); died February 7, 
1785, from her clothes having accidentally caught fire. 


HALr-FIGurE, middle age, to front, head slightly inclined and looking to left; 
white low dress with two strings of pearl and precious stones on corsage, 
blue and ermine cloak over right shoulder, on which a plait of her brown hair, 
bound with blue ribbon, falls; pearl earrings, blue neck ribbon with double 
row of pearls. 


Engraved by J. McArdell, 11 by 19, 1762; also (reversed) by J. Brookshaw, 
1770, by J. Johnson, T. Johnson and by Spicer. 


) fo : 
From Thomas McLean’s Sale, January 18, 1908, No. 135- 37 a- De, 2 VOnKAihN 


Note: According to Graves and Cronin’s “Reynolds” the Countess of 
Strafford paid £15-15-0 (which would be the first half payment) for this 
portrait on February 3, 1761. Possibly neither this nor the companion por- 
trait of the Earl was delivered; at Sir Joshua Reynolds’s sale at Greenwood’s 
rooms, Savile Row, London, on April 15, 1796, the portraits of Lord and 
Lady Strafford were sold for two and three and a half guineas respectively to 
“Byng of St. James’s Square.” The portraits were only known through the 
engravings and were not traced by Graves and Cronin. This one of the 
Countess at one time belonged to Messrs. Agnew. 


No. 179 
SIR THOMAS LAWRENCE, P.R.A. 


1769—1830 
CHARLOTTE LADY STRANGE 6 The Py 
heal Jd + Canvas: Height, 29 inches; width, 24 inches 


Charlotte Margaret, second daughter of the Rev. Geoffrey Hornby; married 
June 30, 1798, her cousin Edward Lord Strange (who succeeded his father 
in 1834 as thirteenth Earl of Derby); died June 16, 1817. 


HALF-FIGURE, age twenty-five to thirty, seated to front looking to right, 
three-quarter face; white low dress with frilled collar and short sleeves, gold 
and ruby brooch at center of corsage, reddish waistband, long yellow glove 
on left arm (which is only partly seen) ; black curly hair falling over fore- 
head and ears; stone pillar to left. 


Collection: Captain Phipps Hornby. 


This is sometimes ascribed as a portrait of the thirteenth Countess of 
Derby, but Lady Strange died many years before her husband succeeded to 
the title. | 


No. 180 


H ©}. 
aes TILLY KETTLE 
1740—1786 


COUNTESS OF STRAFFORD WV Ff, 
° At "an 


uf a — e$--s-« Canvas: Height, 29 inches; width, 24 inches 


HAL¥-ricurE, middle-aged, to front looking to left, three-quarter face, low 
dark dress, short white sleeves with pearl fasteners, and white lace at neck, 
pearl ornament at center of corsage, yellow waistband, dark cloak over shoul- 
der; two-row pearl necklace with pearl pendant; powdered hair with pearl 
band, black aigrette. 


This is a variant by Tilly Kettle of the portrait of the Countess of 
Strafford, described under Sir Joshua Reynolds in this sale; Catalogue No. 


178. 
te No. 181 
‘ ‘é om i 
3 SIR JOSHUA REYNOLDS, P.R.A. 


1723—1792 


MRS. FORTESCUE 


6). chalk 


Abs ID are Canvas: Height, 29 inches; width, 24 inches 


Mary Henrietta, eldest daughter of Thomas Orby Hunter of Croyland Abbey, 
Lincolnshire, a Lord of the Admiralty; born about 1734; married the Right 
Hon. James Fortescue, of Ravensdale Park, P.C., M.P.; died December 24, 
1814, aged eighty. Her second son succeeded his uncle as second Baron 
Clermont in 1806. 


HALF-FIGURE, age about twenty-five, seated to front; head slightly inclined 
to left; blue and white dress, white fichu, flowers in corsage; brown hair 
dressed high, with string of pearls and red ribbon, pear! drop earrings; arms 
folded and resting on brown ledge, on which are roses; dark background. 


Mrs. Fortescue sat to Reynolds in 1761. 


No. 182. 


SIR HENRY RAEBURN, R.A. 9 am 
Ve eae ia 1756—1828 ow @ d, - 
MRS. CATHCART | 


Canvas: Height, 29 inches; width, 24 inches 


Ha.r-ricure, age twenty-five to thirty, seated in a landscape, directed to q 
front, looking slightly to left; white satin low dress with high waist, black 
mantle, arms crossed on lap, ring on penultimate finger of left hand; brown ~ 


hair falling in curls over forehead; eee >) ae and trees. — gS 2 
( —\ f 2 ; ; ‘ 

m Rx ey Le yo LN 1h CH K oe ie da 

Lo sae 7 

GaAs Ion ¢ pawns SSS | oe 


( 0) . No. 184 
\ 


al ; GEORGE ROMNEY 
1734—1 802 


LORD HUNTINGDON 


pee) tz w: §6©Canvas: Height, 29 ee th, 24 imches 
ie DAA 


Francis, eldest son of ninth Earl; born in 1734; succeeded his father in 1746; 
carried Sword of State at the Coronation of George III, 1761; died without 
issue October 2, 1789, when the ancient baronies were carried by his eldest 
sister into the Rawdon family and thence to the Earldom of Loudoun. 


HaAxr-ricure of elderly man about sixty, directed to left, head turned, look- 
ing at spectator; brown coat, white tie, dark felt hat with blue trimming, 
powdered wig, rustic walking stick under left arm; background balustrade 
and distant view. 


The canvas has been relined and is inscribed “Painted by G. Romney 
1790.” It is, there can be no doubt, one of the two copies of a portrait by an 
artist whose name is not stated, done by Romney in 1791 and 1795; see Ward 
& Roberts’ *““Romney,” p. 83. 


aS 


No. 185 


SIR JOSHUA REYNOLDS, P.R.A. 
1723—1792 


THE COUNTESS OF ANCRUM 


ae - &y. Je 


Canaan Height, 29 inches; width, 244% wches 


Elizabeth, only daughter of Chichester Fortescue, and granddaughter of first 
Lord Mornington; born in 1745; married in 1763 William John, Earl of 
Ancrum, afterwards fifth Marquis of Lothian; died September 30, 1780. 


Ha.r-ricure, looking to left; pmk overdress trimmed with fur; gray low 
bodice; powdered hair dressed high and bound with pink ribbon, plait over — 
left shoulder; right arm resting on pedestal; dark background. 


From the Lesser ae February 10, 1912, No. 80: 74. f- "y, es) 


Sir Joshua painted several portraits of the Countess of Ancrum from 
Lipo tl? 


No. 186 


RICHARD WILSON 
tile 1782 


ROME AND THE CAMPAGNA 


/ 


k ae Canvas: Height, 28 inches; ey De or) 
3 060 = 


Broap view of the Campagna, with distant hills; ras to Lb Ae Be 
ure driving cattle to left; in the foreground two figures conversing near 
portion of a carved stela or ancient tombstone. 


Signed at bottom to left with entwined monogram: R. W. 


=. 
re a0}: : 
33 z No. 187 
JOHN CONSTABLE, R.A. 


1776—1837 


THE OLD MILL 


Qe “g d Canvas: Height, 27 inches; ee ee : + Se | 
A ricuLy foliaged summer scene, in which an old water mill, red-tiled house _ - 
and overhanging trees occupy the left side of the picture; in the distance 
an undulating country with tall poplar and other trees and a cottage are 
seen; in the middle distance, and on the mill-pool, dammed up with a f 
wooden palisade, is a sailing boat; in front on the shallow water a small boat = 
with fishermen is seen near a willow tree; on the bank to left are two youth- "a 
ful figures, one of whom is fishing. | 


Signed to left at bottom edge: Joun ConsTaBLeE. a 


DPD 


No. 188 


ALFRED EDWARD CHALON, R.A. 
1781—1860 


PORTRAIT OF A LADY 


| ye Canvas: Height, 30 inches; “Up 25 ownches : 


Heap and shoulders, age about twenty, directed to left, head turned looking 
at spectator; red cloak trimmed with fur, white collar; dark curly hair, large 
black felt bonnet, with black feathers and edged with white lace, fastened 
under chin with dark ribbon; gloved hands only partly seen. 


; No. 189 
\\ FRANCIS COTES, R.A. 
1726—1770 


PORTRAIT OF THE HON. CHARLOTTE JOHNSTON 


a 2: ese. Canvas: Height, 30 inches; width, 25 inches . 


HALF-FIGURE, in an oval, about thirty years of age, to front, head turned 
and looking to left, three-quarter face, white dress with lace at corsage, scar- 
let and ermine overmantle, scarlet waistband tied at center; black hair. 
strand falling over right shoulder; gray background. 


oe 


No. 190 


GEORGE ROMNEY ~ 
1734—1802 


MRS. DRAKE 


83 Canvas: Height, 380 ky Bacrg 
q Ms) 0 lo 


‘Rachael, daughter and heiress of Jeremiah Ives of Norwich; 1 
August 21, 1781, as his second wife, William Drake, M.P., of — Ame: | 
Bucks; died August 3, 1784. Her elder daughter married the» thi 

Boston. > eae 


Hatr-Ficure, directed to right, head turned and looking at specta 
dress, powdered hair dressed high, white head-dress; Ran arm res 


brick-red balcony; red curtain background. | i 
Painted in 1783, the artist receiving £21. | ore os : | 
Purchased in 1908 from Lord Boston by Messrs. Colnaghi & Co. aon lee a | 


Reference: T. H. Ward and W. Roberts, “Romney,” 1904, p. 46, where a full — ; : 
list of the various sittings is printed. aes 


so A ERR AR 


% - 


ee 
SRD sa eee 


he No. 191 


| | FRANCIS COTES, R.A. 
: 1726—1770 


PORTRAIT OF A LADY 


ag , Canvas: Height, 30 inches; Eee inches 

HAtr-ricurg, about twenty-five, in an oval, directed and looking to right; 
white low dress edged with lace, white and pink sleeves, flowers at center 
of corsage, lace frilled collar; black hair with string of pearls and white 
feather, pearl earrings. 


No. 192 


SIR THOMAS LAWRENCE, P.R.A. 
; 1769—1830 


MR. H. J. BLAMIRE 


(Chairman of the Commission on Sewers) 


= chee Atha, Sie RT NAO E PAE ETF 
ape aeyigtie NARS PRET A IIS CII NT IEE aE a 


eves . Cinens : Height, 80 inches; width,.25 inches 
/2 ) j 
Heap and shoulders of an elderly man, to front, looking at spectator full 
face, black coat and vest, white stock, gray wig, hands only partly seen on 


lap; red table and curtain background. 


nap, 161-F1> 
Collections: The late Mrs. J. M. Kennedy, until July, 1902 and Sir Edgar 


Vincent. 


Sir Walter Armstrong’s “Lawrence,” 1918, p. 115. 


No. 193 


JOHN HOPPNER, R.A. 
1758—1810 


S preolvrthe 


THE COUNTESS OF cai at 
q 8 "4 0 — Canvas: Height, 30 inches; width, 25 inches 


Maria Frances Mary, daughter of George, third Earl of Buckinghamshire, 
born in 1760; married September 80, 1785, the Hon. George North, who suc- 
ceeded his father in August, 1792, as third Earl of Guildford; died April 23, 
1794. A famous beauty, described by the Prince of Wales (George IV) as 
“the only modest woman of position that he was acquainted with.” 


HA¥F-FricurE, seated to front and looking to left; white dress and fichu, 
black satin sash, black gauze scarf over left arm; powdered hair bound with 
band of silk; gold neck chain; rich red curtain background. 


Collection: Capt. G. W. Tyler, of Tidmarsh Grange, Pangbourne, who in- 
herited wt from his father, Admiral Sir George Tyler, who married a 
twin sister of Lady Guildford. Sold by order of the High Court of 
Justice, August 6, 1913, to Mr. Neville Cooper, of 387 Duke Street, 
London, who sold it to Mr. Blakeslee. 


Described and illustrated in the Supplement (1914) to “John Hoppner, R.A.,” 
by W. McKay and W. Roberts. 


Although this portrait has always been known as a Hoppner, it possesses 
more of the characteristics of Sir Thomas Lawrence than Hoppner. 


o P \ f 4 ; f ‘“S 4 
f is : ; | ¥ a A ows ae TA 
/e tlt fy Ison tl oe \y » AS ER | EA. 
Oe \ } : ; : f es Le 7 ; 
wt } ¥ : ’ 


A. 


No. 194 
Wis 


JOHN OPIE, R.A. 
1761—1807 


GIRL WITH CAT 


Vaiae (ce Canvas: Height, 30 ae ie | 
WHOLE-LENGTH seated figure of a little girl about five, directed to left and 
looking at spectator; dull-brown low dress trimmed with white; brown curly 
hair; gold bracelet, hands clasped over a tabby cat which rests on her lap; 
dark background with window or balcony to right. 


No. 195 


PIR THOMAS LAWRENCE. P.B.A. 


1769—1830 
MISS HARE 
Y 50 ae Canvas: Height, 30 inches; fwtdth, 25 ee y 


HALF-FIGURE, age about twenty-five, standing to ffont; white high-waisted 
dress cut to V-shape, white collar, short sleeves, gray belt and gray cloak 
around shoulders and arms; red coral necklace, black curly hair with broad 
white band, right arm resting on red-covered table; pillar to left, tree to 
night. 


Back of canvas inscribed: Str THomas Lawrence, P.R.A., 1824. 


S ee | No. 196 


HENRY R. MORLAND 
Circa 17830—1797 


PORTRAIT OF A LADY 


ole ee Canvas: Height, 30 inches; width, Doe "a aie ae 


HALrF-FIGURE, about twenty-five, to fro ; looking at spectator; blue low 
dress with white lace insertion, puffed white sleeves, bow at center of corsage, 
purple shawl over right arm; long white lace head-dress with blue ribbon. 


No. 197 


JOHN OPIE, R.A. 
1761—1807 


MR. RICHARDSON .- 


3 I oo Canvas: map 30 oe width, 2 he Os. 


Heap and shoulders of elderly man, to front, brown coat and waistcoat closely 
fastened, white neckerchief slightly seen; gray wig; dark background. 


No. 198 


SIR HENRY RAEBURN, R.A. 
1756—1823 


LORD CRAIG 
Canvas: Height, 3434 inches; Side 26) inches 


i 

3 es J Aviliam Craig, the Scotch Judge; born in 1745, CRS oa 
cate 1768; Sheriff-Deputy of Ayrshire 1787; Lord of Session 1792; died in 
1813. A contributor to The Mirror and The Lounger, two famous weekly 
periodicals on the plan of Addison’s Spectator, edited by Henry Mackenzie, 
author of the once famous “Man of Feeling.” 


HAL¥r-LENGTH, directed to right, in crimson gown with white cape, crimson 
ribbon and rosettes, large white cuffs; hands clasped, resting on arm of chair, 
gray wig; red curtain background. 


Raeburn Echibition, Edinburgh, 1876 (by Mr. Andrew Hay Wilson). Fe y 


A oa 


ca 
Sale: “The property of a gentleman,” Christie’s, May 10, 1912, No. 54: 84 f- 17 — | Aha 
James Greig, “Raeburn,” 1911, p. 42. 


Ee 8 DON PRE art = Mee ee ‘oa ne 


No. 199 


ALLAN RAMSAY 
1713—1784 


PORTRAIT OF A LADY | Cie: oe : 


ub oles aa Pel en Canvas: Height, 30 inches; width, 25 inches | z : ae ie 


Bust of young woman to front and looking at spectator with smiling expres- 
sion; gray low bodice almost entirely hidden by a brown and blue cloak or 
overdress; blue plush turban head-dress; black hair, of which a plait Le 
over right shoulder. 


Collection: Robert Hoe, New ieee February, 1911, Nps 64, illustrated i m the 
sale catalogue. if S4 Si VPS bs 


No. 200 


JOHN OPIE, R.A. 


1761—1807 
MR. JAMES WHITBREAD 


re) oe oi Canvas: Height, 30 inches; i se) incly 8 


G A aie) A tr n ADS 

y | gut Yo Z 
Heap and shoulders of elderly man, age 55-60, to front, looking up to left; 
brown coat fastened with one button, yellow patterned waistcoat, white stock, 
gray wig. 


No. 201 


GEORGE ROMNEY (Period of) 


Latrer Harr or THE EIGHTEENTH CENTURY 


COUNTRY GIRLS 


ee Canvas: Height, 311% inches; width, 28}4 inches, 

3 a5 “ ee f pnrom_ eon 
SMALL whole-length figures, in an open landscape with evening effects, of 
three young women in red, brown and gold low dresses, probably illustrat- 
ing a classical scene or story; two are pointing to a distant scene and trying 
to induce their companion to look that way, but she is recoiling in horror; 


gray sky background. 


No. 202 


FRANCIS COTES, R.A. 
1726—1770 


MISS MARY DASHWOOD 


/2-69 oa Canvas: Height, 86 inches; wilth/ 28 pete LB . 
) ’ . fi 


HaA.r-ricure of a young lady about twenty-five, to front, looking to right, 
white low dress with pink bow, elaborately pleated bodice, short sleeves with 
broad muslin and lace cuffs, black bracelets, black shoulder band tied in center 
of corsage with pink bow, black velvet band around neck; brown hair with 
pearl ornament; right hand holding shuttle, the cotton from which is held in 
left hand, arm on red table. 


No. 208 
SIR WILLIAM BEECHEY, R.A. (2) 
17538—1839 
LADY HARRIET VERNON , ; 
: 2 0, SG ae 


Canvas: Height, 35 inches; width, 27 imches 


= 
<\ 


Youngest daughter of Thomas, Earl of Strafford; married, in 1743, Henry 
Vernon of Hilton Park, Co. Stafford; died April 12, 1786. 


HALF-LENGTH, about twenty-five, to front, looking to left, brown and white 
low dress with gold insertion and short sleeves, broad blue waistband, er- 
mine cloak over shoulders, pearl bracelet; powdered hair, gold and white 
turban with border of rubies; right arm resting on ledge, hand supporting 
face. 


An excellent portrait much more suggestive of Sir Joshua Reynolds than 
Beechey, and to which reference is made in Mr. Roberts’s Introduction. It is 
curious to note that in 1775 a “Lady Harriet Vernon” sat to Reynolds for a 
picture which has never been traced. 


No. 204 


GEORGE ROMNEY 
1734—1802 


MAJOR PEIRSON 


y, 7 eo ve Canvas: Height, 36 inches; oe 27 inches is 


Born at Cote, near Burton-on-Kendal, about 1740; entered the Honourable 
East India Co. 1771 and attained the rank of Major; died at Calcutta, August 
DeLisi. 


HAtF-FIGuRE, directed to left and looking downwards; red coat with large 
gold buttons, white neckerchief, long staff held by left arm, hand hidden in 
fold of coat; fair brown hair, dark background. 


Note: ‘This is the principal figure cut out from the group of Major 
Peirson, a Brahmin and servant exhibited by Romney at the Society of Artists, 
1771, and described in T. H. Ward & W. Roberts’s “Romney, Catalogue 
Raisonné,” p. 120. This group remained in the collection of W. Miller-Rawlhn- 
son, of Duddon Hall, Broughton-in-Furness, until its sale in July, 1902. 


No. 205 


RICHARD COSWAY, R.A. 
1742— 1821 


LADY BOYNTON AND CHILD 


CY ihe Gal 


ot td — Canvas: Height, 4614 inches; width, 36 inches 


Mary, eldest daughter of James Heblethwayte; married, as his second wife — 
(after 1767), Sir Griffith Boynton, sixth Bart., of Barton Agnes, Yorkshire 
(he died in 1778) ; she married secondly John Parkhurst, of Catesby, and died 
May 138, 1815. 


THREE-QUARTER length of a young woman, seated to front in plain wood 
chair, looking at spectator, white low dress with broad stiff lace collar, pow- 
dered curly hair; gold ring on penultimate finger of left hand, which sup- 
ports the child’s shoulders. The infant in long clothes and lace cap on the — 
mother’s lap is looking up towards her; gray cassie with door to foes 
cradle seen to right. 


From an anonymous sale at Christie’s, March 19, 1904, No. 94: 164 i O-4¢ 


ee a No. 206 


SIR JOSHUA REYNOLDS, P.R.A. 


17238—1792 
MISS KITTY FISCHER ~ 
Ree rs i rf Oy: 
ah 5 OS /- a ae Ep CA eee : 


Canvas: Height, 35 inches; width, 27 inches 


The most celebrated woman of the town of her time. Katherine Maria, daugh- 
ter of a German staymaker, named Fischer; married at Haddington, Scot- 
land, October 25, 1766, John Norris, Jr., grandson of Admiral Sir John 
Norris; lived under the protection of Captain Keppel; sat to Sir Joshua Rey- 
nolds frequently between 1759 and 1767; died at “The Three Tuns” Inn, Stall 
Street, Bath, March 10, 1767, aged about twenty-six, “ta victim to cosmetics” ; 
buried at Benenden, Kent. 


THREE-QUARTER figure, directed and looking to right, seated on a blue sofa; 
white low dress, yellow cloak trimmed with ermine; holding dove in lap, an- 
other dove perched on edge of sofa; brown hair with plait falling over left 
shoulder; blue curtain and brown pillar background. 


ee ee. 
Collection: E. W. Beckett, M.P., May 23, 1903, No. 85. ILE - G-U Jar 


The version of the same portrait which formerly belonged to A. Geddes, 
A.R.A., is in the Lenox Collection in the New York Public Library. 


No. 207 


‘FRANCIS COTES, R.A. — 


- 1726—1770 
PORTRAIT OF MRS. OLIVE — & A vy 
| S: UG oe Canvas: Height, 49 inches; width, 39 inches 


white bonnet fastened around neck with fiouk cbbOne pearl 
ish background with red curtain to left. 


ra 


= No. 208 


ee BENJAMIN WEST, P.RB.A. 
1738—1820 


DEATH ON THE PALE HORSE 


Tis in Canvas: Height, 38 inches; length, 55 inches 


SKETCH for the finished picture in the Pennsylvania Academy. 


Signed and dated in center at lower edge: B. West, 1804. 


Exhibited at the Royal Academy, 1804. 


N. () No. 209 


Cy 


Sik PETER LELY 


1617—1680 
MISS ELIZABETH LIDDELL 0, eae 
‘ <2 as -| Ca AAF\__ 
ie fg (Canvas: Height, 49 inches; width, 82 inches 


Probably Elizabeth, daughter of Sir Henry Liddell, Bart., of Ravensworth 
Castle, who married, in 1696, Robert Ellison of Hebburn, Co. Durham. 


W HOLE-LENGTH portrait of a young girl about nine or ten, in a landscape 
leaning against a rock; gray satin low dress with flowing blue mantle; fair 
hair; holding a flat rustic basket of flowers which is resting on a rock, near 
which is a growing large thistle. 


5 


No. 210 


SIR THOMAS LAWRENCEH, P.R.A. 
1769—1830 


LADY MELVILLE 


+ \ ~ 
: 
tit 
! - 
Fm 


Ce rf od ‘“— Canvas: Height, 49 inches; width, 89 inches he | 1 E : 


-Anne, daughter of Huck Saunders, M.D., and sister of the Countess of West- % em 
moreland; married August 29, 1796, Robert, second Viscount Melville; died — 
in 1841. 7 


THREE-QUARTER length, about twenty-five, standing in a landscape directed 
shghtly to right, looking at spectator; black low dress with short sleeves, edged 
with white, right sleeve with pearl and ruby fastener; white flowing scarf — 
around neck, pearl bracelet; golden hair dressed in curls; left hand resting 
on bosom, gold ring set with ruby on penultimate finger; stone pillar and 
flowering shrubs to left, blue sky and shrubs and trees to right. 


Collection: Fischhof of Paris, 1906. 


No. 211 


2 


GEORGE HENRY HARLOW 
1787—1819 


GIRL PLAYING THE HARP 


aa a Bie Canvas: Height, 49 inches; ey, 

SAV - (A av Ante 
NEARLY whole length of a young lady about twenty, standing looking at 
spectator and playing a harp; low white satin dress with short sleeves, blue 
sash; brown curly hair; background crimson curtain and pillar, landscape 
seen through an open window. 


< 


vee : No. 212 


FREDERICK W. WATTS 
EXHIBITED FROM 1821 To 1862 


THE CANAL BOAT 


l a G2 Canvas: Height, 47 inches; Beep 37 inches ~ 

DN Ae TF AEN 
A RIVER scene with rustic bridge anda barge containing three figures, two 
harnessed horses standing on the bank beyond; dense clump of willows and 
other trees to right, distant view to left. 


Collections: William Cave, 1859; Viscount Falkland, June 14, 1907, No. 23: 34 b- } (Me oe 


Note: This is one of the many excellent works by F. W. Watts which long 
passed as by John Constable. 


‘, 
ae 


a No. 213 


SIR MARTIN ARCHER SHEE, P.h.A. 
1769—1850 


MRS. KEMBLE AS “COWSLIP” (5 
Borris a 
Canvas: Height, 49 inches; width, 39 inches 


Elizabeth Satchell, daughter of a musical instrument maker; born about 1763; 
appeared at Covent Garden in September, 1780, as Polly in “The Beggars’ 
Opera,” played Desdemona to Stephen Kemble’s Othello in 1783, about which 
time she married him; one of her successes was as Cowslip in O’Keefe’s “The 
Agreeable Surprise”; died at The Grove, near Durham, January 20, 1841. “A 
little woman but a great actress,” says one of her biographers. 


THREE-QUARTER length, walking to right, looking at spectator, and carrying 
a white bowl; white low dress, pale-blue shawl over shoulders, red rose in 
center of corsage, gold necklace; brown curly hair, white high-crowned 
Welsh hat trimmed with blue ribbon; sculptured stone urn to left, autumnal 
tinted trees in background, distant landscape to right. 


Exhibited: Royal Academy, 17938, No. 382. 


Collections :H. A. Rannie of Glasgow; and Sir Cuthbert Quilter, London, 1909, 
No. 96: 977 De 0G ape ae 


Reproduced under the title of “The Country Girl,” and as by Sir Joshua Rey- 
nolds in the “Pall Mall Magazine,” January, 1905; and in the privately 
printed “Catalogue” of Sir Cuthbert Quilter’s Pictures, 1909. 


Shee’s “Life of Sir Martin A. Shee,” 1860, p. 178. 


Note: This has been cut down from a whole length since it left the Quilter 
Collection. 


Ore 


2s — Canvas: Height, 49 incgas th 39 inches / 


ji~ 


No. 214 


SIR PETER LELY 
1617—1680 


FRANCES LADY DIGBY 


\ 7A { / AX 


aed ia DAMA 


Daughter of Edward, first Earl of Gainsborough; married Simon, fourth 
Baron Digby; died in child-birth September, 1684, aged twenty-three. Funeral 
sermon preached by J. Kettlewell; see “Wilford’s Memorials and Characters 
with Lives of Eminent Persons,” 1741. 


THREE-QUARTER figure seated at the foot of a large tree, directed to left and 
looking at spectator; brown low dress trimmed with white, short sleeves, 
gray overmantle with brooch of precious stones, brown curly hair falling in 
ringlets over neck, iarge pearl drop earrings, right hand holding edge of 
cloak, left hand on lap; distant view to left. 


Inscribed wm lower left hand corner in gold letters: FRaNcEs 
Lapy Diesy. 


Collection and Sale: Earl of Gainsborough, April, 1902, No. 98. SOF 4) - 7 


Re No. 215 


GEORGE ROMNEY 
1734—1802 


MRS. UPPLEBY 


7 J - > 0 7 ¢- Canvas: Haght, 49 HCE AE ea” e hes : Y, thaw 


Dorothy, second daughter of George Crowle, of Fryston, Yorkshire; married, 
as his second wife, in 1745, John Uppleby of Wooton and Barrow Hall, Lin- 
colnshire; died September 15, 1787. | 


Neary whole length of elderly lady, seated at a balcony in a red chair, di- 
rected to right and looking at spectator; grayish slate-colored dress with 
short sleeves, long white gloves to elbows; black lace shawl over shoulders, 
white satin gauffered bonnet tied with white chiffon; gray hair, hands folded 
on lap. 


Painted in 1783. 


In T. H. Ward and W. Roberts’s ‘Romney,’ 1904, through the artist’s 
almost indecipherable entries in his “Diaries,” this portrait is incorrectly en- 
tered as “Appleby” (p. 4), under which name will be found a record of the 
picture. The portrait remained untraced until 1911, when it was purchased 
privately by Messrs. Sulley & Co., London. | r 


: [ ef = fr 
he LA a f C; Kast) ‘ 
. ne “ tw UY - 


= 


if 


4 


\ 


No. 216 


JOHN SINGLETON COPLEY, R.A. 


1737—1815 
THE FORTUNE-TELLER c) ee 
a 0 0 ae Canvas: Height, 491% inches; width, 39 inches 


THREE-QUARTER length portrait of a lady in the character of Fortune-Teller, 
standing to front, in brown dress, short sleeves trimmed with white, partly 
tucked up white apron, white fichu, pink cloak over shoulders; brown hair 
with long curl resting on shoulder, bluish-white head-dress with pink bow; 
left hand extended and holding a coin, right hand raised as if in protest; 
background a wall and overhanging trees, distant landscape to right. 


Exhibited: Worcester, Mass., Museum, circa 1910. 


Briefly described in F. W. Bayley’s “Sketch of the Life of J. S. Copley,” 1910, 
p. 38. 


ee 
a 


No. 217 


SIR HENRY RAEBURN, R.A. 
1756—1823 2 


by Cape oe | 
MRS. STEWART RICHARDSON EL rh ALLL 


Canvas: Height, 50 inches; width, 40 inches ; B s 


Elizabeth Ann, eldest daughter and co-heir of James Stewart of Urrard, Perth ‘ae 

married James Richardson of Pitfour, Perth (who died July 26, 1825). Their — 
eldest son, John Stewart Richardson, succeeded his kinsman as ee ie 
Baronet of Pitfour in 1837. 


HAL¥F-LENGTH, middle age, seated in armchair, directed to left, looking at — 
spectator; red dress cut to V-shape, white muslin collar and cuffs, white tur- 
ban head-dress, fair curly hair; right arm resting on table and holding gloves; 

to left table with books and black shawl, the end of latter on n lap; gray back- 
ground with red curtain overhead to right. , 


Exhibited: French Gallery, Pall Mall, 1911; Matraten in the volume of “Pic- 
tures by Sir Henry Raeburn, R.A., exhibited at the French Gallery.” 


James Greig: “Raeburn,” 1911, p. 58. 


al No. 218 


FRANCIS COTES, R.A. 
1726-1770 


PORTRAIT OF MISS HASTINGS 


27 ae ¢! Canvas: Height, 49% mches; width, 839% inches 


os oe : Le gag 
THREE-QUARTER length of a young lady about twenty-five, in a Iandscape, 


standing, directed to right, looking at spectator, white dress, broad white 
gauffered collar; brown curly hair, straw hat edged and trimmed with blue, 
black shawl under left arm; trees and shrubs to right. 

) 
From an anonymous sale at Christie’s, July 12, 1912, No. 10° hs 45 -( haysow 


No. 219 


FRANCIS COTES, RA. - 
1726—1770 , 


GIRL WITH A HARP 


e 0 Sg Cound Height, Wee width, 40 10 inchs 
| Wnone length of a young girl about ten, seated in a rons I 
right, looking at spectator; white low dress, long creamy whit 
with gold, pink shoes with gold buckles; long, fair hair, ri 
on knee, left hand on small harp-like instrument; trees with 


to left, distant Heat to right. | pace aM so 


- 


No. 220 


GEORGE FREDERICK WATTS, R.A. 
1817—1904 


LADY AND TWO CHILDREN 


3 ooo ‘" -Canvas: Height, 49 inches; width, 39 inches 
Group of a mother, about twenty-five to thirty, and two young children near 
a balcony. ‘The mother seated, and embracing the elder child, who is in red 
low dress, white stockings and black shoes; the younger child on its mother’s 
lap in white dress and arms extended; pillars and red curtain background. 


Signed and dated to left across rug on the mother’s lap: G. F. 
Warts, 1837. 


Note: A very interesting picture, probably the earliest in existence, of 
this great master and differing totally from his well-known style of later date. 
He first began to exhibit at the Royal Academy in 1887. 


P pop 


i 
A oh) 
. 
aa 


no 


é 
: 
~ 


No. 221 


SIR THOMAS LAWRENCE, P.R.A. 
1769—1830 


MARQUIS OF HERTFORD 


2 / / 0) ‘Canvas: Height, 50 inches; io) 40 inches R 
Francis Charles Seymour, Earl of Yarmouth; born in March, 1777; M.P. f 
Oxford, Lisburne and Camelford, 1819-22; Vice Chamberlain to the Prince 
Regent; succeeded his father as third Marquis of Hertford in 1822; died in ~ — 
March, 1842. He was the original of Thackeray’s “Lord Steyne,” and one 

of the most notorious “men about town” during the latter part of the eigh- 
teenth and early nineteenth centuries; his wife was the heiress Maria Fagnini, 
and their son, the fourth Marquis, was the founder of the Wallace Collection 

in London. 


HALr-LENGTH, standing to front, looking to right; black buttoned-up coat 
with velvet collar, the red lining of vest showing at neck, white collar, black 
stock, wearing the star of the Order of the Garter; red hair and side whis- 
kers. 


Painted about 1825. 


Engraved by W. Holl, 4% by 31% inches, for Jerdan’s “National Portrait Gal- 
lery,” 1833. 


Collections: Marquis of Hertford; Sir Richard Wallace; and Sir John E, A. 
Murray Scott. 


Murray Scott Sale, June, 1918, No. 109: 399- p- " th dy hin 


Sir W. Armstrong’s “Lawrence,” 1913, p. 139. 


hig 6 daa ag Na a dai the ae ia) a ca | 


No. 222 


JACOB HOUSMAN (or HUYSMANS) 
1656—1696 


MRS. HOBEY 


Da gag 7 —. Canvas: Height, 58 inches; width, 37 inches ie be 
Va / rae 

THREE-QUARTER length figure, age about thirty-five, seated, directed to left // 

and looking at spectator; bluish low silk dress, short broad sleeves with fast- | 

teners and brooch of precious stones; brown curly hair with blue ribbon and 

pearl ornaments; right arm on rock, hand resting against face, left arm on 

lap, fingers extended; stag to right; background stone wall, with foliage to 

left. 


Signed to right on rock in gold letters: Mrs. Hosry. J. Hovs- 
MAN Pryx. 


5 \ 


No. 223 


SIR JOSHUA REYNOLDS, PRA, 


X/ SU. SS ipa, (ltr (Barer 


EARL GOWER LEEOISMUTING OF STAFFORD) 


Canvas: Heahe, 88 inches; width, 57 inches i 


Genel cuce aaa as reef Earl eee in 1754; created. Marquis oO 
ford, March 11786; died October zo, 1803. : 


WHOLE-LENGTH, middle-aged, standing on a balcony, in Peer’s robes. 1 vith 
chain and pendant of St. George; coronet in right hand, left ba ribbon 
of cloak; wig; pillar and red curtain to left. aoe 


Earl Gower sat to Reynolds in 1760-1. 


No. 224 


Sik GODFREY KNELLER 
1646—1723 


PORTRAIT OF WILLIAM III 


vi) . % I= 7 4 5 / ia 4 
© 76 eae Canvas: Height, 50 inches; Oy 40 ys 


THREE-QUARTER length, middle age, standing to right, looking at spectator 
full face; in demi-suit of armor, blue and gold dress, white lace scarf and 
cuffs, red cloak flowing across shoulders and fastened with large brooch set 
with a miniature, long black wig; left hand resting on hip, right hand hold- 


ing baton; to right table with crown; to left sculptured wall or pillar. 


4 


Inscribed at lower left hand corner: Wivu1AM ILL. 


Collection: The Earl of Sheffield, December 11, 1909, No. 99: Th - AU - L Ue feos 


me | No. 225 


SIR GODFREY KNELLER 
1646—1723 


SOPHIA, WIFE OF GEORGE I (2) 


vA 5 ise Canvas: Height, 87 inches; width, 52 inch 


Only daughter and heiress of George, Duke of Zelle; born February 3, 1666; 
married November 21, 1682, George, Elector of Hanover, who succeeded as 
George I of Great Britain in August, 1714; divorced in 1694; died Novem- 
ber 18, 1726. | 


WHOLE length, about twenty-five to thirty, life size, standing near a balcony, 
in state robes, blue ermine lined gown and mantle and white satin gold-em- 
broidered petticoat, richly studded with pearls and precious stones, fair hair | | 
with pearl and other ornaments; left hand holding robes, right hand on orb : a 
which, with crown, rests on blue-covered table; red curtain background. 


Exhibited: Guelph Exhibition, New Gallery, 1891, No. 11. 


Collection: Duke of Fife, of Duff House, Banffshire, June 7, 1907, 1p og ie 18-0 fers 


No. 8152 in the old catalogue of the Fife pictures. This was No. 17 
in the Duke of Fife sale and was included among the portraits by unknown : 
artists. It is a very fine portrait of a beautiful woman, more in the style of | 
a French artist than Kneller and probably represents some other Queen 
Sophia than the wife of George I, to whose other known portraits it bears 
no resemblance. <A lengthy reference to the picture will be found in Mr. 
Roberts’s Introduction. 


v ‘4 4 
Tee, OA ew, 
Ni has ee 
Tv a3 ew 
Ae Le 


No. 226 


SIR DAVID WILKIE, R.A. 
1785—1841 


KING WILLIAM IV ; 
VW 6. he eo 


Eee : 
Canvas: Height, 51 inches; width, 41 inches 


Third son of George IIL; born August 21, 1765, created Duke of Clarence and 
Earl of Munster; entered the Navy in 1779; succeeded to the throne June 26, 
1830; died June 20, 1837. 


THREE-QUARTER figure to front, looking at spectator, in full robes, with the 
decorations of the Garter, St. George and other orders; right hand resting 
on hilt of richly jeweled sword, left hand hanging down by side; bareheaded. 


Painted about 18838. 


No22227 


SIR LAURENZ ALMA-TADEMA, R.A. 
1836—1912 


THE SCULPTURE GALLERY 


d 2-4-0 Ae Canvas: Height, 8616 "LZ width, 66 paC ) d 


INTERIOR view of a Roman sculptor’s studio. |/In dl center a slave is turn- 
ing a bronze vase mounted on a marble pedestal, which is. being inspected 
by a lady (who holds a large blue fan) and two gentlemen seated on a 
marble bench on the left; near them a a lady and two children; a marble 
seated figure is seen on the right, and through a porchway men are seen 
at work. 

Signed to right on pillar: L. Atma-Tapema, Op. CXXYV. 


Exhibited: Royal Academy, 1875; Grosvenor Gallery, 1883 (E. Gambart) ; 
Chicago, 1893 (C. McCulloch); Burlington House, London, 1909 
(Mrs. McCulloch); same place, 1913 (Mrs. Coutts-Michie—formerly 
Mrs. McCulloch). 


Engraved in pure line by Augusta Blanchard, 20 by 154 inches, 1877; and 
frequently reproduced (e. g. “The Art Journal,” March, 18838, p. 65). 


Collections: Ernest Gambart and George McCulloch. 


George McCulloch sale, May 29, 1918, No. 111 (illustrated in the sale cata- 
logue) ; purchased for Mr. Blakeslee. 47 3p-L-0 4. Ter Peer ner 
This famous work is the pendant of “The Picture Gallery,” which ap- 
peared at the Royal Academy of 1874. Both pictures were commissioned by 
the dealers, Messrs. Pilgeram and Lefevre, for the Gallery of the late Ernest 
Gambart, NVO, Consul-General for Spain, at Les Palmiers, Nice. After hang- 
ing there for many years, Mr. Gambart was induced to sell “The Sculpture 
Gallery” to Messrs. Tooth, who sold it to the late George McCulloch. The 


figures in the picture are all portraits. The lady seated and holding a fan was 
a great beauty-and an intimate friend of the Tadema family; the man next 
to her, and whose head is only partly seen, was Dr. Washington Epps, the 
artist’s brother-in-law; Alma-T'adema himself is seen giving directions by ex- 
tending his arm to his two children—Lawrence and Anna Tadema—by his first 
wife, to stand on one side whilst the slave is turning the vase. The lady stand- 
ing up behind the children is the artist’s second wife (née Laura Epps). The 
objects depicted in the picture are from celebrated antique works: The vase 
in the center from that in the Naples Museum; the portrait of Agrippina from 
that in the Capitol at Rome; the portrait of Pericles from that in the Vatican; 
the silver dish upon the table from that in the Berlin Museum; the table from 
that in the Casa Rufi at Pompeii; and the Hercules Strangling the Serpent is 
also well known to archeologists. 

After the picture was engraved Alma-Tadema introduced several modifi- 
cations which may readily be traced on comparing the picture with the en- 
graving. ‘These alterations are in all cases improvements. For instance, the 
bronze horse from that in the Naples Museum, and of which the forequarters 
only are seen on the right in the engraving, has been eliminated, as well as 
the winged monster on which the horse rested; the latter is substituted by a 
dwarf marble column on which is the artist’s signature; on the upper left hand 
corner some plain paneling has been replaced by a frieze and a sculptured 
column. 


LY) No. 228 


SIR WILLIAM Q. ORCHARDSON, R.A. 
1835—1910 


THE YOUNG DUKE 


ge 
f Y J 0 Te Canvas: Height, 58 inches; ae 98 inches 


Ww Co 

Tue scene is laid in a tapestried banqueting-hall; a number of guests, 
dressed in costumes of the period of James II, are standing around the 
dining-table at the conclusion of the repast, with their glasses held on 
high, toasting the young Duke, their host, who is seated in an arm-chair at 
the head of the table; there are numerous dishes of fruit, silver ornaments 
and glasses decorating the dinner-table, and a large bowl of roses stands 
upon a serving-table in the foreground. 


Signed and dated: W. Q. OrcHarpson, ’88. 


Exhibited: Royal Academy, 1888; Guildhall, London, 1897 (G. McCulloch) ; 
Burlington House, London, 1909 (Mrs. McCulloch) ; International Ea- 
hibition, Rome, 1911 (Mrs. Coutts-Michie—formerly Mrs. McCulloch). 


Etched by F. A. Laguillermie, 28 by 161% inches; reproduced by permission of 
Mr. Robert Dunthorne, the owner of the copyright, as the fronts 
to Christie’s catalogue of the McCulloch sale. 


Collections and sale: Charles Neck, until 1896, and G. McCulloch, May 29, 
19138, No. 178; purchased for Mr. Blakeslee: 4GOY -~J-p 4 Yohheu'mer 
V ° 


No. 229 


STR DAVID WILKIE, R.A. 
1785—1841 


QUEEN ADELAIDE 


re Opry 


( Sr 0) ‘<— Canvas: Height, 51 inches; width, A inches 


H.S.H. Amelia Adelaide Louise Terese Caroline Wilhelmina, eldest daughter 
of the Duke of Saxe-Meiningen; born August 13, 1792; married the Duke of 
Clarence (afterwards William IV) July 11, 1818; died December 2, 1849. 


‘THREE-QUARTER length to front, looking to left, in coronation robes, white 

low dress, blue and ermine cloak, brown hair in curls over forehead, coronet 

with three drop pearls; three-row pearl necklace, jeweled bracelets and 

rings; fingers of left hand resting on book which lies on scarlet covered table, 
_ right hand holding white gloves; scarlet curtain to right, doorway to left. 


Painted about 1831-2. 


37 at No. 230 
YW & | MARTIN CREGAN, P.R.H.A. 
| ’ 1788—1870 


MRS. HAWKINS AND CHILDREN 


VrarA_ 


wi : ee Canvas: Height, 46 inches; length, 60 7 
The wife and children of Captain J. Hawkins, of the Bombay Engineers. 


A group of five figures. The mother with golden hair, seated to left in low 
blue silk dress, with scarlet and gold cloak over her shoulders; the youngest 
child in white on its mother’s lap, holding her hand, gray felt hat in its left 
hand; the elder, golden, curly-haired girl, in white, rests her right hand on 
the child’s shoulder and is pointing with a rose to her left; the second young- 
est child is standing by a red-covered table and is holding a spray of flow- 
ers; to the right, a gold-haired boy in blue suit with gold buttons and white 
lace collar is looking towards the mother; landscape background. 


From the collection of the family of Admiral Hawkins. Formerly ascribed to 
Sir William Beechey, and probably the picture exhibited at the Royal 
Academy of 1819, No. 202. 


No. 231 


SIR THOMAS LAWRENCE, P.R.A. 
1769—1830 


LADY SHAW 


Q Uf No a. Canvas: Height, 92 inches; width, ae 
Vc. 0O On 


WHuote length, life size, about twenty-five, walking to left on a seashore; red 
low dress, with short sleeves trimmed with white lace, golden waistband, 
gold bracelet on right arm, ring set with ruby on last finger; dark curly 
hair with gold band and sprig of foliage; white shawl edged with gold 
flowing over right shoulder and held with right hand, left hand with ring 
on penultimate finger and holding fold of dress; black shoes; to right mas- 
sive cliffs with flowers, to left view of sea, red flowering poppies, etc., on 
shore. ! 


ai 


A ae No. 232 
WILLIAM DOBSON 
1610—1646 


SIR CHARLES AND LADY LUCAS 


eee a Canvas: Height, 47 inches; length, 66 inches 


pAennrtet1- 

The famous Royalist, knighted in 1638, EE, prisoner fp Marston M 
1644; took a leading part in the defence of Colchester, and on its capitul 
was Pee fenned to death, August 30, 1648. His portrait was painted several 
times by Dobson. There is apparently no record that Sir Charles Lucas ever 


married, and the lady may be his sister Margaret, Duchess of Newcastle. 


Two half-length seated figures; to left a stout, middle-aged man, in red and 
brown dress with steel gorget and gold-handled sword, white lace collar and 
white cuffs, long brown hair; right arm resting on stone ledge, left hand ex- 
tended towards his companion, who is about thirty years of age and is fond- 
ling a King Charles spaniel. She is in white satin low dress with pearl and 
ruby ornaments, red cloak, blue coverlet or shawl on lap; pearl necklace, 
brown hair with pearl ornaments. : 


Collection: The late Colonel W. E. G. Lytton-Bulwer, Quebec Hall, Norfolk. 


This picture is referred to in Mr. Roberts’s Introduction. 


| No. 233 
: SIR PETER LELY 
1617—1680 


TWO LADIES AND CUPID 


HIS Canvas: Height, 50 te sy eo 


on oa ee gua 

Two middle-aged ladies seated in a landscape; the principal figure to right 
in blue velvet dress garnished with pearls and precious stones, large p@arl 
earrings, long brown curly hair; she is holding the end of a chaplet of flow- 
ers which is offered her by Cupid, who occupies the center of the picture 
and is encircled by a scarlet robe and his fair hair with a floral wreath. ‘The 
lady to the left is in brown dress with pearl and other ornaments, large 
drop pear! earrings, black hair of which a curl rests on the right shoulder. 
A second Cupid is seen in the air behind a tree; distant landscape and 
houses to right. 


No. 234 


SIR WILLIAM BEECHEY, R.A. 
1753—1839 


THE STANLEY CHILDREN 


ys q ae Canvas: Height, 74 inches; " e ine : Y x 
a} ‘ 


Group of three children near a balcony, looking at spectator; to left the 
eldest boy, in blue dress, white broad collar and fair hair, is supporting the 
younger girl, who is standing on a blue upholstered chair and is dressed in 
white with lace frilled cap and yellow sash; the elder girl is seated on a 
footstool, dressed in white, with red coral necklace and fondling a spaniel, 
on the edge of the chair hangs her large straw hat; to left a second dog is 
seen, flowers and a whip-top on the floor; to left distant hill landscape, to 
right red curtain. 


From Heydon Hall, Norfolk, the residence of the Bulwer family. 


@ < No. 235 


VV’ STR DAVID WILKIE, R.A. 
1785—1841 


CHRISTOPHER COLUMBUS EXPLAINING THE PROJECT 
OF HIS INTENDED VOYAGE FOR THE DISCOVERY 
OF THE NEW WORLD IN THE CONVENT OF LA RA- 
BIDA 


Nevers Pe Height, 57 iy, pee 13 ek 


- A STRANGER traveling on foot, erage eno Aung chee Sv ae 
day at the gate of the Convent of Franciscan friars, dedicated to Santa 
ria de Rabida, and asked of the porter a little ig and water for his child. 
While receiving this humble refreshment the guardian of the convent, Friar 
Juan de Perez La Marchena, happening to pass by, was struck by the ap- 
pearance of the stranger, and observing from his air and accent that he 
was a foreigner, entered into conversation with him. ‘That stranger was 
Columbus. — 

The conference which followed, remarkable for opening a brighter pros- 
pect in the fortunes of Columbus, forms the subject of the picture, in which 
he is represented seated at the convent table, with the Friar on his right, 
to whom he is explaining on a chart the theory upon which his long-contem- 
plated discovery is founded. At his left is his young son Diego, with a small 
Italian greyhound at his feet, supposed to have accompanied them on their 
voyage from Genoa. 

At the other side of the picture, resting on the table, is the physician of 
Palos, Garcia Fernandez, who, from scientific knowledge, approved of the 
enterprise, and whose testimony has recorded this event. Behind him, with 
the telescope in his hand, is Martin Alonzo Pinzon, one of the most intelli- 
gent sea-captains of his day, who, though tarnished in his fame by subse- 
quent desertion, concurred in the practicability of his plans, assisted in the 
outfit of the expedition, and sailed with Columbus. With this support in 
confirmation of his own judgment, the Friar Juan de Perez became the 
friend and benefactor of Columbus, received his son into the Convent to be 
educated, and furnished to himself a recommendation to Fernandez de 'Tala- 
vera, Confessor to the Queen, which eventually obtained for him the assist- 
ance of the Court in his adventure, and to Spain the credit of his great dis- 
covery (see Washington Irving’s “Life of Columbus’’). 


Painted for Mr. R. S. Holford, who paid the artist £500 for it, and whose 
son, Captain (now Sir George L.) Holford, sold it with other pictures 


ae 


wn 1895 to Messrs. T'. Agnew & Sons, who sold it to Messrs. T. Wallis 
& Sons, of London. 


Exhibited: Royal Academy, 1835, No. 64; British Institution, 1842, No. 18; 


Art Treasures, Manchester, 1857, No. 618; Burlington House, 1870, 
No. 35; same place, 1898, No. 1383; and International Exhibition, Lon- 
don, 1874, No. 45. 


Engraved in stipple by H. T. Ryall, 1844 by 25 inches, June 18, 18438, dedi- 


cated to Mr. R. S. Holford, by the publisher, F. G. Moon. 


References: Allan Cunningham’s “Life of Sir David Wilkie,” 18438, Vol. II, 


pp. 18, 98, 95-6, 530; J. W. Mollett, “Sir David Wilkie,” 1881, p. 89. 


Notes: Writing on December 17, 1834, John Constable says: “I was at 
Wilkie’s all day on Monday; he has painted a noble picture, Columbus with the 
Monk, where he shows him his plan for overtaking another world.” Constable 
had been asked by Wilkie to sit for one of the heads in the picture of Columbus, 
that of the physician Garcia Fernandez. Among Constable’s papers Leslie 
found a slight pencil sketch of the whole composition of that fine picture. (See 
Leslie’s “Life of Constable.”) ‘This picture,” says Dr. Waagen, ‘in which 
the figures are of an unusually large scale, is the chief specimen of the influ- 
ence of Velasquez and Murillo on this great painter. In truth, with the masses 
of deep chiaroscuro, the warm, full tones and broad treatment, it gives the 
impression of an old picture.” 


With the picture will be sold a red leather volume containing (1) an auto- 
graph letter from Wilkie to Sir William Newton referring to a proposal for 
the engraving of the Columbus, (2) three engraved portraits of Wilkie, and 
(3) a permit, signed by Wilkie, admitting Lord Mulgrave to the private view 
of the Royal Academy, 1820. . 


TS ale No. 236 
- SIR JOSHUA REYNOLDS, P.R.A. 
17238—1792 


ANNABELLA LADY BLAKE AS “JUNO” Veo 


9314 inches; width, 57 Sonrea ¢ 


Second daughter of the Rey. Sir William Bunbury, fifth Baronet; born in 
February, 1745; married first, Sir Patrick Blake (which marriage was dis- 
solved in 1778) ; and secondly George Boscawen of St. Peter’s, Isle of Thanet; 
died April 20, 1841. 


Wi y et by ‘<— Canvas: Height, 


| Wo te length, life size, as “Juno” receiving the Cestus from Venus, who 
is resting on a cloud with two doves, a peacock at her feet; classical pink 
dress and blue cloak which she holds with her left hand; her hair, adorned 
with pearl ropes, falls in two plaits over her shoulders; right hand ex- 
tended to Venus who is partially draped in a pink robe. (The Cestus, a 
mysterious girdle, worn as an ornament, gave beauty, grace and elegance 
when used even by the most deformed; it excited love, and through it Juno 
was able to gain the favor of Jupiter. ) 


Painted between 1764-9. 


Exhibited: Royal Academy, 1769, No. 90; Burlington House, 1908, No. 146 
(Charles J. Wertheimer). 


Engraved in mezzotint by John Dixon, 24 by 16 inches, 1771; by S. W. Rey- 
nolds, 614, by 4 inches, and frequently repeated; a full-page plate was 
published in Christie’s sale catalogue, May, 1912. 


Collections: The picture remained in the Bunbury family until its sale (with 
other Bunbury pictures), by private contract, to the late Mr. Charles 
as Wertheimer, in whose sale at Christie’s, May 10, 1912, at was No. 
64.” The companion whole length of Sir Patrick Blake belonged to Mr. ; 


David H. King, Jr., of New ¥ ork, and was in his sale in March, 1905. 


Graves and Cronin’s “Reynolds,” 1899, Vol. I. 


”) JAIL ~-~ 0-0: Cables . 
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No. 237 


SIR THOMAS LAWRENCE, P.R.A. 
1769—1830 


KEMBLE AS “ROLLA” 


3S y & ee Canvas: Height, 180 inches; “i Yrey ; 
John Philip Kemble as Rolla in Sheridan’s “Pizarro.” Son of Roger Kemble; 
born in 1757; educated at Douai, and first appeared in London in 1788, as 
Hamlet; “Pizarro” was produced at Drury Lane in 1799, the cast including 
Mrs. Jordan and Mrs. Siddons; Kemble retired from the stage in 1817; and 


died in 1828. 


WHOLE length, heroic size, in classical costume, short white coat with gold 
trimmings, belt studded with diamonds, panther’s skin across shoulders, red 
sandals, jeweled leg-band, left arm outstretched holding golden-haired 
child, right hand holding sword. 

In the original frame. 


Exhibited: Royal Academy, 1800, No. 193; British Institution, 1806, No. 46; 
same place 1844, No. 144 (Sir Robert Peel). 


Collection: Sir Robert Peel, until the dispersal of the Peel heirlooms, Mae 
1900, No. 214. 


The body of “Rolla” is said to have been painted from Jackson, the pugilist, 
and the child from Sheridan’s infant son. The picture is painted over 
Lawrence’s “Prospero Calling up the Storm,” 1794. 


Engraved by 8. W. Reynolds, and published by Boydell at the Shakespeare 
Gallery, June 4, 1803, with the following quotation: 


Rou. Then was this sword Heaven’s gift, not thine. 
(Seizes the child.) 
Who moves one step to follow me, dies upon the spot. 
(Eait with child.) 
**PI7ZBTTO,; ACUNY cea } 


References: Sir Walter Armstrong, “Lawrence,” 1913, p. 142; and James 
Boaden, “Life of J. P. Kemble,” Vol. 2, pp. 240-1. 


AMERICAN ART ASSOCIATION, 


MANAGERS. 
THOMAS E. KIRBY, 


AUCTIONEER. 


L 
4 


ARTISTS REPRESENTED 


he 


ITALIAN SCHOOLS 
TUSCAN SCHOOLS 


ae 
ALLORI, ANGELO (catteEp BRONZINO) 
Portrait of a Lady of Quality 2 


Portrait of a Lady of the Cornaro Family 11 


MAESTRO TOMMASO 
The Nativity 8 


MASTER OF THE ORIENTAL SASH 
~ Madonna, Child and St. John 7 


MASTER OF THE SAN MINIATO ALTARPIECE 
Madonna and ‘Two Adoring Angels 1 


PACCHIAROTTO, Gtacomo 
Angel Musicians 


Or 


PULIGO, Domenico 
Madonna, Child and St. John 9 


SELLAJO, Jacosp DEL 
Virgin and Child 4 


SPINELLI, Parrti 
Madonna and Child 6 


TUSCAN MASTER 
Portrait of a Lady 3 


CATALOGUE 
NUMBER 


VANNI, FRANcCEsScO 
Virgin and Child and St. Katherine 10 


CENTRAL ITALIAN SCHOOLS 
Bologna, Ferrara, Umbria and the Marches 


ALFANI, Domenico 
Holy Family and St. John : 15 


AMATRICO, Coa DELL’ 
The Annunciation 16 


ANGELI, Fra Martino (4?) 
Madonna and Saints 17 


BERTUCCI, Gtovanni Battista 
Madonna and Saints | 14 


BOCCATIS, GIovanni | 
Madonna and Angels 19 


FRANCIA, Gtacomo 
Madonna and Child with St. John els 


GIOVANNI LO SPAGNA 
St. Mary Magdalene | | 22 


MANNI, GIANNICOLA 
Madonna and Child 18 


TURA, Cosimo (ScHOoOoL oF) 
Madonna and Child | 12 


UMBRIAN SCHOOL 
Adoration of the Magi 20 


VITALE DA BOLOGNA (cattep VITALE DELLE 
MADONNE) 


Madonna and Saints He | 


NORTH ITALIAN SCHOOLS 


Milan, Vicenza, Verona, V enice 


BADILE, Antonio 
Portrait of a Lady 


BISSOLO, FRANcEsco 
Christ in a Landscape 
Virgin and Child 


BOCCACCINO, Boccaccio 
Madonna and Child 


BONIFAZIO (EREDI DI) 


The Resurrection of Lazarus 


BUTTINON E, BERNARDINO 
St. John and St. Lawrence 


CONTI, BERNARDINO DE’ 
Madonna and Child 


GIROLAMO DA SANTA CROCE 
Madonna and Child 


GIROLAMO DA TREVISO 
Madonna and Child 


MAZZOLA (BEDOLI), GrroLtamo 
Marriage of St. Katherine 


PALMA VECCHIO 
Holy Family and St. Katherine 


SOLARIO, ANDREA 
Madonna and Child 


CATALOGUE 
NUMBER 


33 


24 
30 


23 


34 


32 


27 


28 


36 


31 


VENETO, BartroLoMMEo 
Portrait of a Lady 


ZELOTTI, Barrista 


Historical Scene 


LATE ITALIAN SCHOOLS 
Seventeenth and Eighteenth Centuries 


CAMBIASO, Luca 
Madonna and St. John 


CANALETTO (ANTONIO CANALE) 
Canaletto’s Conception of a Grand Opera House in 
Venice 


PIAZZETTA, Giovanni Barrtista 
Laughing Girl 


GIORDANO, Luca (catLtep FA-PRESTO) 
The Holy Family 


MARIESCHI, MicHetet 
View of the Grand Canal 


PITTONI, Giovanni BATTISTA 
The Holy Family Appearing to St. Anthony 


| PROCACCINI, Grunio CESARE 
“Sibilla Persica”’ 


SOLIMENA, FRANCEscO 
Mary at the Tomb of Christ 


TIEPOLO, Gtovanni DoMENICcO 
Portrait of an Old Man 


CATALOGUE 
NUMBER 


26 


35 


4.0 


45 
37 
AS 
4.2 
Al 
39 


4 


38 


CATALOGUE 
NUMBER 


TINELUI, Treerto (?) 
Portrait said to be Francesco de Altamira AT 


TITIAN (Ascribed to) 
Susannah and the Elders 46 


SPANISH, DUTCH, FRENCH AND FLEMISH 
PICTURES 


SPANISH AND ROMAN SCHOOL 


COELLO, Atonso SancHeEz 
Anne of Austria, Wife of Philip II of Spain 59 


COELLO, Criaupio 
Portrait of a Lady 49 
An Austrian Princess 53 


GOYA Y LUCIENTES, Francisco Josk DE 
King Charles III of Spain (1716-1788) 52 


MAZO MARTINEZ, Juan B. DEL 
Portrait of a Young Lady 56 
Portrait of a Spanish Princess 58 


MURILLO, B. E. . 
The Little Shepherd 48 


PANTOJA DE LA CRUZ, Juan 
The Infanta Isabella Eugenia Clara, Governess of the 
Netherlands 57 


VELASQUEZ, Dirco Ropricurz pr SILVA Y 


Queen Mariana of Spain 50 


CATALOGUE 
NUMBER 


ZUCCARO, FEbERIGO 


Edward VI (Said to be) : 51 
Lord Burghley 54 
Lady Burghley (7?) 55 


DUTCH SCHOOL 


BACKER, Jacop A. 
Man with Pen in Hand 73 


BOL, FERDINAND 
Lady and Two Children 


~y 
Or 


CRANACH, Lucas 
The Jeweler’s Daughter 66 


CUYP, Jacos GERRITSz 
Portrait of a Child 7 72 


DELFF, Jacos WILLEMszoon 
Maria Jacob van de Woot : ~ 60 


HOLBEIN, Siemunp 
Portrait of a Lady i 64 


JANSSENS, Cornetis 
Portrait of Man with Lace Collar 67 


KESSEL, JoHANNES VAN 
Landscape | 76 


KONINCK, Satomon DE 
Sophonisba 80 


LEYSTER, Jupiru 
Youth with Cat 65 


MAES, Niconars 
Portrait of a Lady 
Family Group 


METSU, Gapriei 
A. Visit to the Nursery 


MIEREVELD, Micutex J. van 
Lady with Ruff 
Marguerite van Bromkort 


MOREELSE, Pavurus 
Lucy Harington, Countess of Bedford 


MUS SCHER, Micuimr van 
The Concert 


MYTENS, Dante. 
Portrait of a Girl 


SANDRART, JOACHIM VON 
Portrait of a Lady 


VERSPRONCK, Jan 
The Toper 


WEYDEN, CoswiIn VAN DER 
Family of the Virgin 


WISSING, WILLEM 


Portrait of English Nobleman 


ZY LL, GERARD PIETERSY VAN (GHERARD VAN LEYDEN) 


Portrait of a Nun 


CATALOGUE 
NUMBER 


fee 
73 


68 


81 


69 


(pi 


62 


70 


ial 


63 


EARLY FRENCH SCHOOL 


BOUCHER, Francois 


Amorini 


DAVID, Jacauss Louis 


Napoleon Bonaparte 


GUERIN, FRANCOIS 


Fillette jouant avec un Garcon endormi 


GUIARD, AnbDELAIpE LABILLE-DES- VERTUS 
Princesse de Lamballe 


Lady and Child 


LANCRET, Nicota (ScHooL oF) 
Féte Champétre 


LARGILLIERE, Niconas DE 
Vicomtesse de Narbonne-Pelet 
Amphitrite and Attendants 
Vertumnus and Pomona 
Duce de Penthiévre 


Portrait of a Lady of the Court of Louis XIV 


LE BRUN, MapamMeE VIGEE 
Comtesse de Verdun 
Madame Vestris 


LEDOUX, Mapemoise.tLe J. PHILIBERTE 
Girl Asleep 
‘Girl Listening 


CATALOGUE 
NUMBER 


86 


109 


110 


83 
84 


TE PLCLE,. N. B. 
Head of a Young Girl 


MIGNARD, Pierre 
_ Lady with a Dog 


POURBUS, Francis 
Anne of Austria 


RAOUX, JEAN 
Portrait of a Lady 


RIGAUD, Hyacintrue 
The Duc d’Antin 
Madame Rigaud 
Lady in Bed 


TOCQUE, Louis 
Madame de la Marteliére 


TROY, JEAN FRANCOIS DE 
Portrait of a Lady 


VAN LOO, Carte ANDRE 
Portrait of a Girl 
Comtesse de Beaufort as Sultana 
Emperor of Germany 
Empress of Germany 


VESTIER, ANToOINE 
Comtesse de la Garde 


WATTEAU (of Lille), Louis Josrru 
Portrait of a Lady 


CATALOGUE 
NUMBER 


87 


90 


102 


89 


98 
105 
106 


91 


1038 


101 


FLEMISH SCHOOL 


CATALOGUE 
NUMBER 

RUBENS, Sir Peter Pau 

Head of Princess Elizabeth 115 

The Adoration of the Magi 119 
SUTTERMANS, Justus 

Lady in Red Dress 116 

Pertrait of a Spanish Lady ibe 
VAN DYCK, Str ANTHONY 

St. Andrew 113 

A Lady of the Coningsby Family 118 
VAN ORLEY, BEernarp 

Virgin and Child 114 

ENGLISH SCHOOLS 

ALMA-TADEMA, Sirr LaAavurenz 

The Sculpture Gallery 227 
BEECHEY, Sir Wim, #.A. 

Admiral Bridport, K.B. | 150 

Lady Harriet Vernon 203 

The Stanley Children 234. 
BEECHEY, Sir Wituiam, #.A. (Ascribed to) 

The Star 158 
BURNE-JONES, Srr Enpwarp, 4.R.A., D.C.L. 

Psyche’s Wedding 148 


CHALON, Aurren Enwarp, R.A. 
Mrs. Fairlie and Child 128 
Portrait of a Lady 188 


CHAMBERLIN, Mason, R.A. 
Portraits of Mr. and Mrs. Hopkins 


CONSTABLE, Joun, R.A. 
Hampstead Heath 
The Old Mill 


COPLEY, Joun Srincueton, R.A. 
Battle of Dunkirk (September, 1793) 
The Fortune-teller 


COSWAY, Mrs. Marta 
Lady Seated at a Piano 


COSWAY, Ricuarp, R.A. 
Portrait of Lady Wentworth 
Lady Boynton and Child 


COTES, Francis, R.A. 
Portrait of a Lady 


Portrait of the Duchess of Marlborough (7) 
Portrait of Mrs. Jones (afterwards Walley) 
Portrait of the Hon. Charlotte Johnston 


Portrait of a Lady 

Miss Mary Dashwood 
Portrait of Mrs. Olive 
Portrait of Miss Hastings 
Girl with a Harp 


CREGAN, Martin, P.R.H.A. 
Mrs. Hawkins and Children 


DEVIS, A. W. 
Portrait of a Lady 


CATALOGUE 
NUMBER 


230 


DOBSON, Wiu114AM 
The Misses Venables 
Sir Charles and Lady Lucas 


DOBSON, Wituiam (arrer VAN DYCK) 
The Earl of Portland 
Lord John and Lord Bernard Stuart 


DOWN MAN, Joun, A.R.A. 
Portrait of Mrs. Mair 


GORDON, Sir Joun Watson, R.A. And P.R.S.A. 


The Mackenzie Children 


HARLOW, Gerorcrt HENRY 
Mrs. Richardson and Children 
Portrait of a Lady with Red Hat 
Group of Two Children 
Girl Playing the Harp 


HIGHMORE, Josrryu 
Mrs. Pritchard, the Actress 


HOGARTH, Wiz1aM 
Portrait of Peg Woffington 


HOPPNER, Joun, R.A. 
Portrait of Lady Campbell 
The Countess of Guildford 


HOUSMAN (or HUYSMANS), Jacos 
Mrs. Blount 
Mrs. Hobey 


CATALOGUE 
NUMBER 
140 


232 


151 
160 


137 


144 


CATALOGUE 


NUMBER 
KETTLE, Titty 
Portrait of a Lady , 129 
Countess of Strafford 180 
KNELLER, Str Goprrry 
Portrait of a Man 153 
Portrait of William III 224 
Sophia, Wife of George I (7?) 225 
~ LAWRENCE, Sir Tuomas, P.R.A. 
Francis Mountjoy Martin — 125 
Mr. Lambert 145 
The Countess of Essex 165 
Head of a Girl 166 
Sir Thomas Buckler Lethbridge, Bart. 176 
Charlotte Lady Strange 179 
Mr. E. J. Blamire 192 
Miss Hare 195 
Lady Melville | 210 
Marquis of Hertford 221 
Lady Shaw 231 
Kemble as “Rolla” 73 ie 
LAWRENCE, Sir THomas, P.R.A. (Period of) 
The Countess of Galloway 135 
LELY, Sir PETER 
Duchess of Richmond (“La Belle Stuart” ) 154 
The Prince and Princess of Orange 156 
The Duchess of Cleveland 170 
Miss Elizabeth Liddell 200 
Frances Lady Digby 214 


Two Ladies and Cupid 233 


CATALOGUE 
NUMBER 


MORLAND, Henry R. 
Mrs. Thornton; an Artist 138 
Portrait of a Lady 196 


OPIE, Joun, R.A. ‘ 
The Young Musician 121 


Musidora 139 
Portrait of a Boy 164 
Going to School 172 
Girl with Cat 194 
Mr. Richardson 197 
Mr. James Whitbread 200 


ORCHARDSON, Sir WittiM Q., P.A. 
The Young Duke 228 


PHILLIPS, THomas, h.A. 
Portrait of a Lady 146 


RAEBURN, Sir Henry, R.A. 
Mrs. Catheart 182: 


Lord Craig 198 
Mrs. Stewart Richardson — yin Be 


RAMSAY, ALLAN 
Portrait of a Lady 155 
Portrait of a Lady 199 


REYNOLDS, Sir JosuHvua, P.R.A. 


John Armstrong, M.D. 124 
Sir Walter Blackett, Bart. 128 
Portrait of the Artist 130 
Sir Robert Palk, Bart. 131 
Felina 134 


Miss 'Theophila Palmer 174 


Mrs. Musters as “Hebe” 

Countess of Strafford 

Mrs. Fortescue 

The Countess of Ancrum 

Miss Kitty Fischer 

Earl Gower (Marquis of Stafford) 
Annabella Lady Blake as “Juno” 


ROMNEY, GerorGE 
Lady Grantham 
Lady Hamilton as “Miranda” 
Lord Huntingdon 
Mrs. Drake 
Major Peirson 


Mrs. Uppleby 


ROMNEY, Gerorcr (Period of) 
Daphnis and Chloe 
Country Girls 


SHEE, Str Martin Arcuer, P.R.A. 
Portrait of a Lady 
Mrs. Kemble as “Cowslip” 


WATTS, FrREpERIcK W. 
The Canal Boat 


WATTS, Grorce Frepericx, R.A. 
Lady and ‘Two Children 


WEST, Bensamny, P.R.A. 
Mrs. West and Child 
Conversion of St. Paul 
Death of Hyacinthus 
Death on the Pale Horse 


CATALOGUE 
NUMBER 


177 
178 
181 
185 
206 
223 
236 


CATALOGUE 
NUMBER 


WHEATLEY, Francis, #.A. 


Portrait of a Lady 159 
WILKIE, Str Davy, Ret 

King William IV 226 

Queen Adelaide’ 229 


Christopher Columbus Explaining the Project of His 
Intended Voyage for the Discovery of the New World — 
in the Convent of La Rabida 235 


WILSON, RicuHarp 
Rome and the Campagna 186 


——— ae _— 


+ 


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AND OTHER PURPOSES 


THE AMERICAN ART ASSOCIATION 


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TO FURNISH 


INTELLIGENT APPRAISEMENTS 


OF 


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JawWEES AND PERSONAL EFFECTS OF EVERY 
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TELEPHONE, 3346 GRAMERCY 


# 


COMPOSITION, PRESSWO 


AND BINDING BY 


Lae 


aba. 


on 


Sen ee arweengiontin 


F; aie 2 ’ ‘ A 
a rs « “ 7 ™ . at # r a wf , > FS ’ a 
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yi : a ee idee eee, | 
HeFredericks 
a ry 


| as E. Wr Sosaan, gon y 


_'B.Stone 


BW. Shields 


$ Mimmespolis 
‘Institute of 
| Pine Arts. 


a “11000 ALB.Smith 


‘ Geo FeRand 


) “HeFredericks 


O.Bernst, Agent 


0 BeWeShields 


‘Baw. Brandus 


‘P.Ward Geo F.Rand 


G.F.Williamson 


Benj Allen 


ReF.Simon 214 625 Ehrich Galleries 


Geo MeHewitt 215 10300 
00 Dr.Pillersch A eae " 
BK Gleason | 217 +8100 " 


$.5. Carvalho : 218 275 E.KeGleason 


HeFredericks 219 300 Ohas.S.Inman 


C.F.Williemson | 220 300 FP.Ward 


Benj Allen 221 3700 0.Bernet,Agent 


; Geo Denis $.5.Carvalho 


222 250 W.W.Seaman, a 
$.5.Carva tho 


JeleFry 223 2150 O.Bernet, " 


Re Le Thompson 198 3400 H.Fredericks 224. 575 §.S.Garvalho 


§,8.Carvalho Re? eSimon 


225 1150 O.Bernet,Agent 


ee C.F.Willianson $.S.Carvalho 226 650 W.WeSeoman, 
{ fe W.W. Seaman, Agent 201 $25 E.P.Swenson 227 9200 Capt.J.R.Be 
1 (175950 TARPry 202 1950 Ghas.A.Platt ase 6900 mnoedler & Co. 
| 17 600 H.Fredericks 203 1050 0,fitus 229 650 S.S.Carvalho 


A.B.Smith 


O.Bernet, Agent 


F.R.Welsh 
HoLanthier 


1 25 _ Lewis & Sinmons 
: Of ; WellsSeaman, Agent 
: A 52 oh ‘Ehrich Galleries 
1625 TBs 
oa ad 8.8.Carvalho 


“aia Joseph Breck 


ret > 8.5.Carvalho 
260 «-F.R.Welsh 


BenjeAllen 
Re Le Thompson 
H.Lanthier 
BenjAllen 
E.YW.Shieids 
RL. Thompson 
C.F Williamson 
C.A.Platt 
E.?.Swenson 
Otto Bernet, 

Agent. 
T.E.Spencer 


0.Bernet Agent 


$ — Ehrich Galleries : 


101 


102 
| 103 
104 


105 
106 
107 
108 
109 


110 


L111 
112 
LIS 
114 
115 
116 
117 


118 


l119 


120 
121 


laee 


125 


Rdw.Brendus : 
Geo F.Rand 


WoW, Seaman Agent 
Ches.S.Inman 
- Chas.A,Platt 
0.Stratton 
ReLe Thompson 
Chas.A.Platt 


Relie Thompson 


? 


Edw. Brandus 


A.EsSmith 


¢ 


0.S5tratton 

? 
0.Be mot gAgent 
Ja8.D Brown 


0.Bernet,Azent 


A.E.Smith 


Holland Galleries 


0.Bernet ,Agent 


Eevtone 


0.Bernet Agent 


H.Lanthier 


Geo F.Rand 


156 


138 
1359 
140 
141 
142 
143 
144 
145 
146 
147 
148 


149 


100 
150 
250 
300 
400 
375 
175 
325 


200 


2100 


225 


Holland Galle» 
es A.Kremer 


ReL. Thompson a 
WeD.Denegre | 
Sir Hugh Lane 
B.Stratford 
0.Bernet Agent 
R.Le Thompson 
DreP.Mersch 
0.Bernet,Agent 
HoG. Duncan 

B. Stratford 
Chas.Inman 


T.BeSpencer 


te 


” 


EeHeHolbrook 
O.Bernet Agent 
Rel. Thompson 
W.eD.Denegre 
Rel. Thompson 
0.Bernet, Agent 
Rel. Thompson 
Edw. Brandus 
Minneapolis 
Institute of 
Fine Arts. 


B.Stratford 


WAS 


ess 


@ & 


22 
23 


j 5 © @ a oe: eee ea 


H 


Price. 


3 


S's ag 8 8 


375 


500 
375 


950 


buyer. 
Ph.Berolzheimer 
FeRWelsh 
Mc Cormick 
$.5.Carvalho 

8 
J oDeMcIlThenney 
A.B. Smith 
Ph. Berolzheimer 
O.Bernet, Agent 
Snead 
Dr.Paul Mersch 
WelheEvarts 
W.GeChariles 
$.5.Carvalho 


JeDMellheney 
Holland Galler. 
$.5.Carvalho 
A.E.Smith 
E.eW.ohields 
Holland Galle 


JeDeCrimnins 


New York, April 21-25, 1915. 


American Art Galleries. 


Noo 


Price. 


Buyer's 


24 $ 300 Herbert Du Puy 


25 
26 
27 
28 
29 
30 
31 
oR 
oo 
oe 
35 


46 


700 
250 


50 
725 


1000 


Otto Bernet Ab 
HeDeEstabrook 
Asli, Zalinski 
B.terastcigent 
$.5.Carvalho 
A, Kaufman 
Holland Gall. 
Metrop.iuseum 
O.Bernet Agent 
JoHoFry 
A.E.Smith 
S.LeParrish 
Ee Shields 
A.Ee Smith 
T.Prentices 

” 
Jel. Johnston 
C.F Williamson 
T.rrentice 

" 
Dr? Mersch 


F ReWelsh 


64 
65 
66 
67 
68 


69 


Price. 


$ 325 
1025 
aid 
1050 
550 
1100 
425 
600 
225 
550 
600 
250 
700 
O75 
60 
150 
375 
500 
350 
1175 
600 
775 


500 


S.5.Carvalho 
A.E.Smith 
Mrs McCormick 
W.E.Evarts 
Albert Pleut 
$.5.Carvalho 
0.Kaufmann : 
O.Bernet, Agent 
H.Lanthier 
Chas.A.Platt 
O.Bernet, Agent 
T.Eeopencer 
Ph. Berolsheimer 
” 
Lewis & Simmons | 
BenjeAllen 
CG. Timken 
Ph.Berolzheimer 
Benj. Allen 


Fred W.Scott 


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